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Cubers: Arena is fun and functional, with some interesting ideas and an acceptable level of replayability, but at the end of the day, it’s an uneventful game. You’ve seen the same boring art style on countless games before, you’ve heard the game Banjo-inspired gibberish on countless games before, and you’ve played dozens of similar hack ‘n’ slash games before.
The price tag that the game boasts is actually less than I would have been happy to pay for it, after sinking quite a few hours into it. If you want a mindless shooter, then Tannenberg definitely isn’t for you. If you like to plan your actions, and if you’re methodical about how you proceed through a map, Tannenberg should be right up your alley.
It’s poorly designed in some areas and it’s stupidly unfair at first, but its bite-sized length and engaging score system make it a very replayable game that ended up being a perfect fit for a portable like the Switch. It becomes a lot more enjoyable once you finally start unlocking new levels and ships in order to add some extra variety to your runs.
Crysis actually works on the Switch. This is a commendable effort, a port I would have never imagined I’d ever play on a Nintendo platform, let alone a portable. It’s nowhere near as close to the PC original in terms of visual fidelity and performance, but it’s still a massive improvement over the underwhelming console ports from the past generation.
Somehow, Fairy Tail ended up being one of the most enjoyable JRPG’s I’ve played in a while. The characters, the stories, the variety and freedom in play, it all comes together for a very enjoyable experience.
Its striking art style, logical puzzles, and unique atmosphere prove that Amanita Design can make more than just point-and-click adventures.
It is a decent early 2000’s collectathon, back when this word wasn’t considered an insult among non-nostalgic gamers like it is nowadays. It still has some severe camera issues and it does look a bit dated, but it’s chock-full of content and charisma.
Having someone tripping on LSD for an entire game was not the wisest move. Depicting someone in an altered state of reality or suffering from mental health issues can be very tough to pull off without being offensive. That being said, it has been done before.
Hellpoint is a Souls-like game that is actually really close to being good. The black hole mechanic was a noble attempt at adding something unique to this subgenre of games, but it’s not enough to make up for the uninspired level design, framerate issues, boring story and dull combat.
There is no real hidden shine to it, what you see is what you get. It’s not bad by any means, but the novelty of fighting crabs wore off fairly quickly, resulting in turning into a slightly janky, slightly frustrating brawler with no real sense of direction. Fight Crab will likely be a fun party game, but only time (and booze) will tell how much fun it will actually be.
I have some conflicted feelings about Maid of Sker. The giant Resident Evil-esque hotel setting provides an entertaining and exciting place to explore. But the game ended up being lacklustre in other aspects, namely its predictable story, undercooked stealth mechanics and overabundance of jump scares.
Neversong is an indie in every sense of the word, and in the best sense of the word. It has the serious charm of games that have come before it, yet finds a way to not only stand on its own, but to stand side by side with the Braids, the Limbos, and the Celestes of the world.
It’s a relic of its time with a brand new coat of paint and an unapologetically dumb parody of B-movies and Cold War hysteria. Even though it’s riddled with issues that are mostly likely caused by its low budget, I think that THQ Nordic and Black Forest Games’ decision to remake the game as a simpler AA title was a smart move.
If this ends up being the Vita’s swan song, then I definitely won’t mind. Ultraforce ended up being a fantastic fit for the system and I doubt I would have enjoyed it as much as I did on the Switch or the PS4.
Not exactly a terrible game, but far from being decent either, #Funtime is a game destined to linger in perpetual mediocrity. It has some good ideas, namely the color changing mechanics, but they are poorly explained and make little sense whatsoever. The visual and camera issues also drag the game down quite a lot.
Röki was one of my most anticipated games of 2020 and it blew me away in every way possible. It might have the look of a living children’s book, but its darker themes proves that this is a fairy tale for grownups. I was already impressed with its premise and art design from the trailer, but I wasn’t expecting just how organic everything felt.
Carrion is a fantastic game that flips horror tropes on their heads and allows you to be the one slaughtering the ignorant and incompetent humans. There is actually a lot more depth to the gameplay than I anticipated, which never led to a dull moment.
I loved three quarters of what Rock of Ages 3 had to offer and fell in love with its silly, Monty Python-esque presentation, especially its soundtrack. I enjoyed its challenging boulder-focused levels and I had a blast creating the stupidest obstacle courses I could think of with its excellent level creator mode. I can’t say I had the same feelings towards its undercooked tower defense mode, but I still have to recommend Rock of Ages 3 for the sheer amount of crazy content it has to offer.
Panzer Paladin is a fair length, true to itself, action-platformer. Between its ever-growing difficulty, including a few spikes here and there, and the fact it knows what it wants to do and dives right into it, it’s hard to fault it.
As a whole, Death Stranding is an extremely captivating yet polarising experience. It’s an ambitious title that dares to do something different in a sea of safe bets and genre clones, and for the most part, it actually does succeed. However, those minor annoyances and long stretches where nothing happens can bring the experience down a notch for some players.