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Because the understanding on how to make FMV games really function is still underdeveloped, there are still structural issues that creators are clearly struggling with, and Late Shift is very much a product of this.
Donkey Kong Country: Tropical Freeze is delightful and easy to recommend.
Well done to the developers for taking the roguelike to a genre that I would never have expected it would pair up with, and then executing it as well as any dogfighting flight simulator out there. But, while the loot grind is generally enjoyable, and the randomised missions help keep the missions from becoming rote, Sky Rogue does struggle to give you a reason to care about any of it.
SkyPeace was made with the very best intentions, of that I'm certain. But even though the game punches above its weight in terms of presentation for its monetary price, it's still asking for the player's time, and even though it's modest with what it asks of you there, too, it's just not giving enough in return.
The heavy reliance on nostalgia does wear thin and lose its comedic appeal, and from there you're only left with a workable, but very limited, turn based combat system, and not much more.
It's a polished rhythm game with a really enjoyable look to it, but there's just little replayability for a genre that is built upon that principle. This certainly won't give anyone their Elite Beat Agents fix, but it does show that the touch-based rhythm games are right at home on the portable.
In contrast to its beautifully elegant and minimalist cousin, Proteus, which I referred to at the start, Rememoried is hauntingly beautiful and has a far greater depth of emotional substance. But it is begging us, as players, a little to hard to embrace it and recognise its genius.
Perhaps it's not the most exciting or enjoyable of games, but I'm sure Solo will find a core audience which will appreciate it for what it does best.
The Bunker weaves a decent plot, is well cast, and certainly has its moments of intensity
It can feel a little too cheesy to be palatable at times, but the developers have cooked up a perfectly satisfying meal for the enjoyment of you, your great-grandchildren, and your great-great-grandchildren after them.
Drive on Moscow might just be the most niche title on the PlayStation 4. But the historical accuracy and the way that the game has taken one of the most important military campaigns through World War 2, and turned it into something so fascinating, makes it very, very worthwhile.
Megadimension Neptunia VIIR is an odd duck, being sold heavily on the VR features, even though they are so overtly tacked-on, but whatever the development story behind that, Compile Heart has gone back and substantially improved the gameplay engine, to the point that this is genuinely one of the better JRPGs out there.
Mutant Football League is a cheap and poorly executed arcade sports game.
Go into it in the right spirit, though, and with absolutely no words it tells one of the most powerful stories you'll find on the Switch.
Ultimately, Extinction is a game which just feels bad to play.
The Adventure Pals is a welcome addition to the platforming genre, holding its own due to its quirky story, colourful graphics and accessible gameplay. I fell in love with the game and didn't want to put it down. It's not the most essential, original, or unique that's ever been made, and it has some technical issues, but these are minor complaints in the grand scheme of things.
While it's not a game that's going to turn too many heads or win awards, anyone who likes their really cerebral experiences will love spending hours trying to eke the most out of the favourite football team.
God of War on the PlayStation 4 has taken me completely by surprise. As a game that follows on from the old games, but somehow turns it completely on its head and makes it a world worth investing time into feels almost like a miracle. It is one of those games that takes Norse mythology as a core idea and treats it with respect, while also integrating it seamlessly into the story and making it important to the narrative. I have a newfound interest in learning more about Norse mythology, and it truly makes a game special when it encourages the player to learn more beyond the scope of the game itself.
You may well find Gal*Gun 2 to be offensive and intolerable. But that's all the more reason to experience it and discuss it, and because it's backed by a really good light gun experience that is bigger and (on balance) better than its predecessor, this game is one of the most playable and interesting transgressive franchises the Japanese industry has ever produced.
Part of the reason that it is so replayable is that it's easy to tackle a different combat style and level-up path (they're different enough that you'll get a different experience in playing them). Part of the reason is that it's just a joy to wade into a horde of satyrs and get with the slaying, even when you've got the precise moment they'll attack burned into muscle memory.