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Concept Destruction is instantly accessible a neat take on the Destruction Derby set on table tops with cardboard cars. There’s some odd rules that can cause a headache and there’s not a lot of content here. After a few hours, you’ll have seen everything the game has under the hood.
Saints Row: The Third Remastered takes a 9 year old game that needed a spruce up, shines it up real nice and blasts it in your face on modern day consoles. The visual improvements here work really well even at 30 frames per second, bringing the game close to today's high standards, but there’s still some aspects of the game that betray its age, namely the NPC AI.
It may only be single player, but treat it more like the Witcher than a party game: you are the shark, this is your time to rise as queen of the ocean. It may have a slightly bumpy start, as most games of this style do, but once it opens up the world is your… well, ocean. That sounds less dramatic when it’s literal.
It’s a cracking good time with friends but on your own, it’s a meanderingly frustrating tiresome glitch-filled experience.
Dark Nights with Poe and Munro is more of what D’Avekki does well – weird, cheeky, eldritch FMV games that have snappy dialogue and a penchant for the lovecraftian darker side of entertainment. If you enjoyed Shapeshifting Detective or The Infectious Madness of Doctor Dekker, you’ll enjoy what this game does too.
Troubleshooter is ugly, mechanically shallow, stylistically mundane and lacks any kind of innovation. Without a framing or story to give it meaning, it looks like a hodgepodge of assets thrown together with some barely working systems and mechanics built around them. The design flaws are numerous, the soundtrack irritating and it is quite frankly the worst game I’ve played in 2020.
Ion Fury isn’t a bad game. In the conventional sense, it’s a very functional shooter reminiscent of the heady days of all the aforementioned titles, with that modern (albeit minimal) sprucing. But it’s so laden down with questionable and somewhat controversy-baiting humour that lets it down a tad.
It’s comic book art-style looks like no comic I’ve ever seen, and its story is a massive missed opportunity that feels unfinished. It does what it does well enough, but despite a long early access, it still feels like a pencil sketch of what it could have been.
There’s a glorious amount of fun to be had with What The Golf? and I’m delighted it’s finally on Switch, in particular. It’s a perfect blend of game and console, something I’ve said in various Switch reviews beforehand. When a game lands on Switch and feels completely at home, it’s well worth investing in.
Your enjoyment of The Eternal Castle will weigh heavily on either having fond memories of the era or wanting to leave it buried. It’s difficult to see how younger players will react to its visuals and punishing difficulty, but it serves as stark reminder that we’ve come a long way, baby.
You’re going to want a pen and a pad nearby to keep track of your characters, the threads and the keywords you’ll want to search for, and some questionable design decisions hold the game back from being an all-out classic of the genre – with the shocks and twists of Her Story towering over Telling Lies’ endgame – but it’s still well worth exploring if you’re looking for an interactive mystery to untangle.
I’m sure those who loved The Wonderful 101 the first time around will get a kick out of playing this game again on modern day consoles with nicer visuals. For those that hadn’t experienced it before though, this remaster feels like an artifact from a bygone age that couldn’t adapt to a new set of input’s without the Wii U controller. The combat and concept are still sound 7 years on. Everything else needed to be reworked or tweaked further.
The small hitches and spotty audio don’t spoil what is an otherwise thoroughly enjoyable narrative. The diverse cast of characters, showing more inclusivity than any other romance visual novel on the PS4, is certainly welcome. Arcade Spirit is tightly written, with only a hand full of lulls, but plenty of heart and a tonne of quirk. While it’s not going to be challenging the greats in the visual novel genre, It’ll surely raise a smile or 10 on your face.
It may not break ground on the neo-nostalgic front, but it doesn’t need to. It’s a wonderful homage to an era of games and movies that paved the way for this to happen.
Sadly the lonely experience of Spirit of the North is only a transparent, albeit beautiful, imitation.
John Wick Hex isn’t your traditional movie tie-in game. Whereas so many others take a franchise and shoe horn it into a genre, Bithell Games have taken John Wick under a microscope, examined its DNA and gamified the essence of it. It’s an ingenious take on what it means to be the Baba Yaga, an efficient killing machine that’s as human as the next guy but fights like an assassin savant.
Come for the delightful artwork, stay for the level editor. You’ve seen everything else before.
The chillest rocket in the galaxy is a fun mascot, even if he’s a little shallow, but he’s not really the star of the show. Instead, it’s that oscillating vector, the new wave sinusoid that you actually control. The wave that is both your new favourite toy and in so many courses your cruel mistress. It’s the creation of a whole new sub-genre, which I am dubbing, the Waveformer. When we talk about game physics in future, I hope Wavey is name-checked along with the likes of Portal.
Streets of Rage 4 is not here to redefine the genre. It’s here to give fans something they have waited over 2 decades for and it doesn’t disappoint.
If you’re a veteran of Solomon’s Key and are desperate for more, Ghost Sweeper will provide you with what feels like the levels from the 1980’s classic that didn’t make the cut. The mechanics and enemy types have been recreated with a spit shine for modern TV’s and having a second playable character is a nice touch. Compared to modern day puzzle platformers though, Ghost Sweeper feels like a relic from the past that needed more of a refresh that simply updated visuals.