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I appreciate that the game's also attempting to throw in some bullet hell elements and so on, but it's only middling at that kind of action too. There might be some limited interest in Deathstate for people who like to overcome difficulty spikes, but to be honest, you're better off dusting off that copy of the Gauntlet remake instead.
All in all, it's a generally smooth game let down by its idea of scale.
What Flinthook does do well is keep the variety of enemies, rooms, and environments strong from start to finish, and, generally speaking, the difficulty curve is reasonable. There's always the risk that random elements means a game will take massive momentary spikes in difficulty when you get unlucky and the algorithms work against you. Flinthook avoids that, and progress through the game does feel good, but it struggles to be compelling.
As a spiritual successor to NBA Jam, NBA Playgrounds really does a great job of recreating that zany arcade feeling of streetball two versus two action. As a huge fan of the genre who recalls dropping a lot of quarters into the NBA Jam arcade cabinet when I was younger, I am the target audience for this title. The slick visuals and over-the-top action are a lot of fun, but some inconsistencies in the gameplay and a lack of depth limit this to title to a status of fun filler of must-play hoops action.
In a nutshell, Plasma Puncher is a gorgeous, difficult and sometimes frustrating game. The excellent production values are overshadowed by some minor technical inconsistencies, but while I could spend all day complaining about the small stuff, the real weakness is a lack of gameplay depth.
There's a lot to love about Warhammer 40K: Dawn of War III, especially if you consider yourself an RTS veteran and a fan of the franchise. If you're neither of those things, then you're probably going to find yourself very overwhelmed.
Suffice to say that 3C3C1D119440927 is a lot, lot more than just an arena mode with some costumes attached. It's an insightful look at the very nature of arena modes and games' general obsession with violence, and the perfect epilogue to the greatest game ever made.
Unfortunately, Operation Babel: New Tokyo Legacy just asks too much of its players. An overwhelmingly pointless narrative, coupled with archaic systems and a user interface that tries to fight with the player at every turn make for a game that really drags at times.
Syberia 3 feels like a game that was made because everyone involved in the project felt an obligation to make it. It has its moments, and as a fan it's great to see Sokal's work reach a proper conclusion, but it's also difficult to see how this game will find an audience; even among existing fans of Syberia, tastes change over 13 years, and it's hard to see how this game has done anything to encourage people back for one more spin with Kate Walker.
Properly articulating what Birthdays means to me is difficult. It is the embodiment of the pure joy of gaming, where I can sit down and simply immerse myself within this space without feeling pressure or tension. There's nothing to "win," but everything to enjoy while, at the same time, the game is pointing out, in its very innocent and heartfelt way, a very simple but so important environmental message.
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I've rarely been as delighted in simply immersing myself into a game as I've been with GNOG. It's weird, it's colourful, it's creative, and every time I completed a puzzle box, and was given another "parcel" to unwrap and unlock another puzzle, I couldn't wait to tear the parcel open, if for no other reason than to see just what kind of beautiful lunacy I'd get to see next.
What Edith Finch has achieved on a whole new level is an overarching brilliance and consistency of both theme and gameplay, in how the two seamlessly intertwine and feed off each other. I strongly expect that this game will be used for years to come as a 'textbook' case to educate developers about how to compose a story by not resorting to screeds of text or long loops of audio (in the form of simulated manuscripts, letters, voice recordings etc.); almost tauntingly, in one story, the letter-being-read crutch is used, but subverted ingeniously through the gameplay.
Shiness: The Lightning Kingdom is both an amazing nostalgic trip to an older generation of gaming as well as a breath of fresh air with its fast paced and solid combat mechanics. It's rare for a developer to take martial arts and really try and do the philosophy and flow of them justice in a game, and for that Shiness is a most welcome addition to the RPG library.
It might not be the most refined experience (something young Burton's films were often guilty of as well), but that vision, and the rare mastery over a horror many of us feel but struggle to articulate, makes this game frequently surprising, intense, and always sublime.
It's the eye for historical detail that has always made Romance of the Three Kingdoms games so compelling. Like it shows with the Dynasty Warriors series, Koei really knows - and respects - ancient Chinese history, and while the Fame & Strategy expansion pack makes the base game even more strategically complex, the stories that the game tells, even when you'll be spending most of the game looking at a beautiful, but dry, map, makes this also one of the most accessible 4X strategy games ever created.
I'd recommend this game to anyone with a passing interest in tactical RPGs, and anyone who looked at Torment: Tides of Numenera and went, "this is bloody amazing." Expeditions: Viking doesn't make it feel good to be bad, but it doesn't have to. It proves that being responsible is hardly the dullard's choice when it comes to honouring Odin, and after all, history won't remember you at all if you don't live long enough to win.
There's not much else I can say about Chaos Code. It works, but it's in an overloaded genre where, not only do you have big "blockbuster" options, from Dead or Alive through the soon-to-be released Tekken 7, but there's also a real wealth of options in the niche spaces, from BlazBlue through to a game featuring all your favourite characters from Nitroplus' game franchises.
MechRunner might work as a mobile game. With some fixes to hit detection, it could be a mildly enjoyable way of wasting a few moments while you wait for a bus. But when I settle in and get comfy for some gaming at home, I want something that's going to hold my attention for more than five minutes, and MechRunner barely manages even that.
As a horror experience Outlast 2 works as a bit of grindhouse exploitation. It's intense, it's sharp, and it's a grisly, beautiful game. But it's also so linear and tries to be so cinematic that it opens itself to comparisons to similar stories told in other media, and as weird as it is to say, Outlast 2 is also far too safe.