Shacknews
HomepageShacknews's Reviews
What the Car? was a nice, little moment of silliness in a packed summer, full of games that have demanded a lot of time and energy. It made my hardened critic's face crack a smile multiple times, even if it had just annoyed me moments before. I’m not ready to turn all the way around and start banging the “wiggly game” drums just yet, but it was nice to know there’s still hope out there for this particular brand of video game foolishness.
Astro Bot is a charming and cheeky nod to a lot of PlayStation history and a powerful demonstration of PS5 hardware, but more than anything, it's just a ridiculously good game.
Raw Fury puts truckers into space in Star Trucker, but is it really about the open "road" or is it about micro-managing power systems?
This self-described throwback to the golden era of PS2 platforming classics falls short of expectations.
The Casting of Frank Stone makes for an exciting expansion of the Dead by Daylight universe, even if it doesn't do much to stand out from other Supermassive Games titles.
Imitation is the foundation for something quite special.
The bottom line is that Fate/Stay Night is a keystone work in a genre that’s never been more popular on our side of the globe. For decades, it seemed like this historically important (and good as heck by itself anyway) visual novel would never be readily available and professionally localized like this. Anyone with an interest in anime, gaming, and alternative forms of digital storytelling owes it to themselves to check this story out. It’s one of the all-time greats, and if you do take the time (and it does take a lot of time), you’ll easily understand why Fate is such a big deal nowadays. And if this is your first time, welcome to one of the most absurd, yet rewarding rabbit holes you can dive into.
Concord is a polished hero shooter that doesn't do much to stick out from the crowd.
Ultimately, Black Myth: Wukong is what I like to call “Peak Fine.” It’s great when it finally opens up and lets you play it, and has a number of memorable bosses to fight.
If you’re a fan of Umamusume Pretty Derby, Party Dash is worth getting. Its cute retro art direction manages to capture the energy and charisma of the franchise even if it's a little lackluster on the surface level. The PC port I played ahead of release ran perfectly fine but being able to use resolutions above 1080p would've been nice. What is here is a great and will delight fans but might not be enough to turn newcomers into Umamusume-believers.
I can see why longtime Famicom Detective Club producer Yoshio Sakamoto was so excited to share the story of this game. Emio - The Smiling Man is an intriguing story that takes us on a deeply emotional journey. The characters, both old and new, are very fun and easy to follow as well, not to mention coming out great in their animations and dialogue. I wish Emio stretched its legs a bit in terms of gameplay, but I also can’t argue too much with a working system that’s mostly meant to be a vehicle for an engaging mystery. If this is the final Famicom Detective Club game, it’s a strong one to go out on, but I can't help but hope we get more Famicom Mystery Club with this game acting as a stepping stone to the series’ future.
Ultimately, Bloodless is an interesting, straightforward kind of game that is exactly what it says it is on the box. There’s a central premise, and the gameplay revolves (almost) entirely around it, even if it wavers a little out of an apparent necessity. And even then, takes the care to justify the shift in a way that lines up in the fiction. The non-lethal combat is fun to engage with, and doesn’t simply feel like another samurai game about parrying. There also isn’t a ton more to Bloodless than that, which is totally fine. There’s a target, the game lines up its shot, and hits it dead center. Good stuff.
Age of Mythology Retold is fun, don’t get me wrong. The visual overhaul alone is enough to make playing this 22-year-old game easier, and the quality-of-life improvements sand down some of the older versions’ more annoying edges. However, with more substantial structural improvements in later Age of Empires games, plus with the likes of Ara: History Untold just around the corner, I’m just not sure Retold needed to exist.
I had no idea what I was in for with Gori: Cuddly Carnage, and I certainly didn’t expect to enjoy it as much as I did. Its crassness is kind of a take-it-or-leave-it for me, but it fits a ridiculous world taken over by crazed toys that are in desperate need of murder by a sentient cat friend and his blade hoverboard. And that feels like a good way to look at most of Gori. It sets out do all sorts of things gameplay-wise and it does all of them pretty well to make a ridiculously graphic world and narrative pretty dang fun. Mind the tykes in the room when you’re playing this one.
Outlaws is at its best when it’s telling you a story. I was immediately invested in Kay and Nix and loved going on this journey with them. I didn’t skip a single cinematic or hurry through dialogue and, as a casual Star Wars fan, I would say that’s a big win for the folks at Massive Entertainment. There were certainly some places where the gameplay felt repetitive, but climbing, grappling, and taking out my foes in chaotic battles with my Blaster always felt satisfying. Working with Nix to solve puzzles or stealth through areas was a treat. Now that I’ve beaten the story, I’m not sure I’ll spend much time in the open world, but Outlaws did such a good job that I’m thinking of digging into some of the movies and television shows I’ve been passing on. That’s about as big a compliment as I can give the story.
Meta progression isn’t a necessary facet of the genre, but when those systems do show up in more obtuse and fumbly ways it can be kind of tiresome to engage with them. I’d rather have something more straightforward, or just focus on the core mechanics entirely. And a game like this, with its smaller scope but explosive energy thanks to the Fairy Tail stuff, really thrives on a foundational level. The art is sharp and colorful, the series’ personality shines from every angle, and the combat itself is fun to grapple with. The game even has some interesting ideas with its checkpoint-like boss stages meant to challenge your saved builds. Making use of such a burly anime/manga IP as Fairy Tail to hoist up indie games is an awesome idea, and it’s great to see Fairy Tail: Dungeons come out swinging the moment the door opens.
Tactical Breach Wizards is one of the cleverest and most enjoyable tactics games I've played in a long old time. A handful of useful features remove some of the genre's most frustrating pain points, and the forgiving structure lets you experiment with all manner of off-the-wall solutions, even if there really is just one ideal path forward. It's a blueprint for how tactics games should be designed, and I can't wait to dive back into it again.
It is rare for a game to be about something, to work its themes into every fiber of its being, to ask us to think about the world around us and reflect on who we are, the world we live in, and the things we’ve done to make it what it is. Dustborn does that, and it's special because of it. It doesn’t always work, but what it gets wrong pales in comparison to what it does right. It is a reminder that what we say and do matters. That, to quote Hemingway, “The world is a fine place, and worth fighting for.” That a better world is possible, if only we have the courage to build it, if we can find the right words to speak it into existence. Let there be light.
They simply don’t make games like this anymore, for the most part. To be fair Monkey Island totally came back, and there was an… attempt at a new Sam & Max game (in VR form, which went as well as it sounds). But adventure games in the pre-Walking Dead Telltale style, the sort of zombified fusion of LucasArts’s classic SCUMM system with modern (at the time) PC game conventions are long gone. Skunkape Games’ remasters of all three Sam & Max seasons are the best ways to go back and experience a point in history that still doesn’t feel real sometimes. This is technically a review for The Devil’s Playhouse, but I can’t insist strongly enough how crucial it is to play all three games and take them in as not just a whole work, but a moment in time that won’t easily be replaced. Snag Hit the Road too while you’re at it; it’s only like six bucks on Steam. Long live the Freelance Police!
The Crush House feels like a victim of its own confidence. It’s so self-sure of its premise and big-brained twist that it fails to dig a little deeper under the surface to actually justify any of it. The gameplay itself is incredibly shallow and dull when it isn’t being a frustrating exercise in dice-rolling. The characters are basically all the same person and interact with each other the same ways, repeating the same small set of possible events over and over. Your involvement in the whole equation is to sit there and watch, and hope the emojis and numbers on the screen are doing the good thing instead of irritating you. The payoff is just as shallow as the gameplay, making the whole subversive twist as commentary gimmick a bust.