Crime Boss: Rockay City is proof that star power isn’t everything. In fact, it’s a reminder that a celebrity cast does nothing for a game when it’s void of anything interesting or fun to support it. When run-ending bugs appear, Crime Boss is miserable, but even when I’m running a mission bug-free, I lay witness to a painfully dull take on organized crime. At its best, Crime Boss functions – I can shoot weapons at enemies, empty bank vaults and warehouses for loot, watch cutscenes with recognizable faces and voices, and grow my empire – but it never captures my attention in a meaningful or memorable way. Instead, it pushes me further and further away, leaving me with no desire to ever return to Rockay City.
Despite a solid gameplay foundation, stunning world, and unique two-realm mechanic, by the time I reached credits after 48 hours, I was overjoyed to be done.
If you wanted anything more out of this second crack at making a new sci-fi IP in survival horror, or something markedly different that acknowledges just how far gaming has come since 2008, The Callisto Protocol is not your answer.
While Industria’s atmosphere certainly nailed what it was going for, the monotonous gameplay and rushed story left me dissatisfied. Still, I loved the ambiance and backdrop, and I wouldn’t mind if Bleakmill took another crack at it – the rest of this world just needs a few more cogs added to its machine.
LKA made the best recreation of an Italian setting I’ve ever seen in a game and I wanted nothing more than to enjoy it. However, LKA’s love of Italy is the only warmth I felt in Martha is Dead. The rest left me feeling as cold as Giulia’s dead sister.
Though the combat, which falls between serviceable and irritating, threatened my enjoyment, I still found delight in the currents of Another Crab's Treasure. Kril's reluctance to become a hero and his subsequent journey, messaging surrounding the dangers corporations pose to our oceans, and clever twists on the Soulslike formula deliver a satisfying, albeit uneven and flawed, wade through uncharted waters.
When The Cosmic Shake is at its best, it sounds, looks, and plays like the kind of game I would have begged my parents to buy me growing up. But when it falters, it’s boring. It’s a game I recommend to fans of SpongeBob SquarePants with ease; for those looking for a great platformer, though, better options lie elsewhere in the sea.
Ultimately, New Tales From The Borderlands feels like more of the same and fans of the first are likely to enjoy this, but given it’s been nearly eight years since that first one, I wanted more of an evolution.
With Dead Island 2, Dambuster Studios asks little of the player – only that you enjoy a good excuse to kill zombies in increasingly gory ways for a weekend or two – and in doing so, it delivers on the promise of what this series is all about.
Little Kitty, Big City could have easily over-relied on its cute cat, forgetting that controlling it and interacting with the world around it needs to be just as pleasant. Instead, a perfectly paced runtime, feline-forward mechanics, and engaging exploration coalesce into a reminder of why we love these animals so much in the first place.
Delivering something different and unique in a genre clogged with games set in real-world wars and battles, or at least meant to emulate them, is a commendable effort and pays off here for Ascendant. Immortals of Aveum is a great first outing, mixing the fantasy genre’s vibes, storytelling, and world exploration with the gunplay of a modern shooter.
Oxenfree II doesn’t shake up what its predecessor did in 2016, but it delivers more of the excellent writing and charm I expect from Night School Studio. While it's light on gameplay beyond traversal, it’s done in service of the characters. After 10 hours with this cast, I want more, but I’m happy with where this story ends and how my choices shaped that ending. Despite bad checkpointing and a swift rush to the end after an overly long setup, this return feels earned and essential, with a message that resonates far more than Oxenfree's. With Oxenfree II behind me, I’m thrilled Night School Studio delivered something special more than seven years away from this world.
At its core, Strayed Lights revolves around a simple, intuitive, and unique combat system, and with this strong base in place, it’s no wonder the game shines as bright as it does.
With The Entropy Centre behind me, I’m fascinated by what Stubby Games accomplished with its debut. It’s full of excellent puzzles, but the stuff around them, like bugs and narrative pacing, stop the entire package from coming together in an equally impressive way.
At times, it feels too long and oddly sadistic in its focus on inflicting fakeouts, pain, and suffering on the de Runes. Other times, I admired Asobo’s command of this series, its rat-infested stealth mechanics, and its grandiose storytelling. Fortunately, the latter edges out the former, and Requiem feels like much more than just a follow-up.
Still though, because most of my eight hours with Dig were spent spelunking through stages leading down, I rarely had to think about the game’s roguelite efforts. I spent most of my time playing through beautiful stages to the tune of chippy synth tunes, fascinated with how far Nitrome and Yacht Club were able to stretch the “dig” aspect of this game. Perhaps the roguelite nature of Dig will play a bigger role in my post-game excavations because I’m rearing to jump back in to discover all of its secrets. Even if it doesn’t, though, I know I still have at least a few more hours of great Shovel Knight gameplay ahead of me and in the world of platforming, that’s a treasure worth digging up.
Running through dungeons and improving my cult compound was satisfying, and I found plenty of enjoyment in Cult of the Lamb as a result, even when I felt more like a ruthless boss than a leader.
Three Hopes runs a few chapters too long, and some late-game twists don’t carry the impact they should as a result, but my 36 hours were a great time. Three Hopes successfully and expertly integrates everything great about Three Houses into its musou format, both in narrative and in gameplay; it’s been one of my favorite Switch experiences in recent memory as a result. If you like Three Houses, you should play Three Hopes, and I’d recommend it to you even if you aren’t familiar with the musou genre. And if you haven’t played Three Houses, there’s a good chance that’ll be your next game after rolling credits on this one.
From the moment you step onto these demon-infested lands to the moment you deal the killing blow to the game’s final boss, you’ll experience plenty of surprises – the Konami Code does something really cool, for example. Infernax’s retro soundtrack that rips from start to finish, beautiful art, challenging gameplay, and a fun Castlevania-inspired design, make it worth the price of admission.
The best of Remake exists in Rebirth, but the various open-world areas surrounding it – the parts that make Rebirth unique from its predecessor – sometimes miss the mark.