Quite the opposite is Area X, the level made for PSVR, which was reason enough to buy Sony's headset all on its own. Despite how incredible an impression that area left last time, it's that much better now. Between the resolution bump, the HDR, the upgrade from Unreal Engine 4 to 5, and the improved tracking, the newly refreshed Area X is every bit the must-play it was seven years ago. If you're on the fence about dishing out for the relatively slight upgrade fee, rest assured, it's worth it.
Throwing in the heart-melting cuteness of ASL fluent Quill, a career-best soundtrack from Jason Graves, and an emotionally resonant story, Polyarc’s upgrade exists to remind you why Moss was one of PSVR’s must plays.
What you walk away with is a unique and wonderful rhythm title that’s been improved in nearly every way.
Ragnarock is a rough-around-the-edges rhythm game that's super fun to begin with, but the appeal may start to wane after a handful of sessions.
What you’re left with is a solid VR showcase game, but the good-not-great music, and the hit detection issues ultimately hold it back from being anything more.
Ultimately, what you're left with is the definitive version of the game, even with the changes being relatively slight. It was one of the best games on PSVR back in the day, and the same can be said for its port on PSVR2.
The core loop is a simple one, but it’s not as instantly addictive as many of the other games from Atari's prime. While it’s satisfying to pull off a huge combo, and requires a surprising degree of strategy, by the time you’ve played through the core 50 levels of the game, you won’t be as anxious to dive back in as you might hope.
While the voice acting is a little below par, the writing is superb, crafting meaningful, emotional moments seemingly at will, while walking a delicate tonal line between sadness and catharsis. What you're left with is a fascinating, emotionally powerful experience not soon to leave you.
On PS4, the release took the approach of being good at a great deal of things and spectacular at none, and this remains true. Each positive is balanced out by a negative. The primary antagonist is phenomenal, but she is underutilised. The game is stunning to behold, but frame hitches are common – especially on the 4K option. The combat is exhilarating, but the jumping and sliding puzzles leave a lot to be desired. The end result is an experience that is decent at just about everything, and easy to recommend. But as good as Fallen Order may be, if you look backwards in time, it’s not difficult to find superior Star Wars experiences.
In fact, the only area where it lets itself down is the UI. Games that use a cursor on console are starting on the back foot to begin with, but navigating what you can interact with is a particular nuisance in Norco. The cursor is fond of resetting, so you have to drag it all the way across the screen often, it's very easy to accidentally repeat dialogue choices, and sometimes it takes a few tries to hover over something before the interaction prompt actually shows up. Apart from this, the game offers a rich, fulfilling experience that you should try to experience as soon as you possibly can.
All of these unique ideas being presented with updated graphics, performance, and music provide one of the best brick-breaking experiences we've ever had. Between a surprising amount of content and the willingness to try new things and be creative, if you like brick-breakers, this is not one to miss.
It's staggering how little has been done with NHL 23 to differentiate it from last year's edition. Bugs that should have long ago been quashed remain, Be A Pro continues to be littered with spelling errors and conversations that make no sense, retirement and championship banners in arenas are as far behind as half a decade, and the list goes on. Despite all that, women being integrated into HUT and desperation plays are welcome improvements, as is the overhaul of rink atmosphere. Ultimately, while NHL 23 isn't a step backward per se, the move forward is so small, so minuscule, that it may as well not have moved at all.
This malleable gameplay is the crown jewel on what would otherwise have been an average exploration-adventure title. The presentation is excellent, and the colour palette is vibrant and exciting, but the moments where you have to figure out how to build something are the moments sure to stick with you.
All in all, the title jams a surprising amount of content into a reasonably priced package, while offering a satisfyingly silly experience worthy of your time.
So is this an improvement over the original version of the remake? Absolutely. Tower Five seems to have done its best to re-work the experience without completely starting over, but it could only take it so far. This is one remake we really don't need.
Isonzo is a decent game. Solid in many areas, but never one to show off, the title delivers a good gameplay core, and offers it up at a reasonable price. Performance problems aside, good gunplay and interesting maps are enough to make the experience worth it, at least in the short term. A campaign or a large pool of maps could certainly enhance the value of the title, but even without it, you have a lean, satisfying experience that will be especially appealing to anyone with an interest in the First World War.
Ultimately, you have a game with one masterfully designed core element — the rhythm gunplay — surrounded by a number of elements that, while not terrible, are mediocre at best.
Disney Dreamlight Valley is delightful. The title is a brilliant life sim sandbox that already has a staggering amount of content, and has already begun outlining what comes next. If Gameloft plays its cards right, this game could be a mainstay on many people's consoles for years. Thousands of Disney-themed items and a robust construction mode pair with all the traditional life sim trappings executed at a high level to create a surprisingly excellent experience. Whether you want to completely redesign your town or just go fishing with Mickey, the game has everything in place to ensure you get the most out of your experience. A slew of camera bugs and the odd crash stand out as early access hiccups, and the framework for an extensive microtransaction economy is a red flag, but this isn't enough to stand in the way of having a lovely time.
The game nails just about everything it sets out to do. The pixelated graphics are vibrant and varied, the writing is witty and macabre, and the music is fantastic – albeit repetitive. All aspects of the title come together harmoniously, creating an unexpectedly fun and funny roguelike with a refreshingly unique premise.
We Are OFK is an incredibly well-written game that stretches the boundaries of the medium. There's not a lot of traditional gameplay, but the characters are so well-realised and the writing so strong that even though there's not much for you to do during each of the episodes, the act of being there and listening remains highly engaging. Between the strong art and soundtrack, there's a lot to like, even if there's not a lot to play.