Ubisoft’s city builders tend to be good: Anno was released on console just last year and it is a genuinely good time. But then Anno respects the player’s intelligence and allows them to make mistakes and try things along the way. The Settlers: New Allies wants you to play like an automaton, and the inflexibility and lack of variety in this game become draining far too quickly. It’s a treat to look at, but it’s a sour thing to play, and it’s immensely disappointing that we’ve waited 13 years for this.
With all that said, this is an incredibly niche sport. It’s impressive that as much effort is put into doing it justice as Cyanide puts into the Tour de France. The developers get better at it, year after year, and that’s an encouraging sign too. I hope they’re profitable enough to continue with the series, because you can’t help but believe that they’re right on the cusp of this series hitting the A-tier of sporting properties.
The aesthetics are reasonably pleasant (though I prefer the look of the “proper” Richman games), but Richman 4 Fun should have stayed on mobile. It’s about as interesting as Monopoly, if Monopoly lacked the simple, clear social critique and your opponent had dice that were weighted to basically give them what they wanted. It takes a lot for a board game to be less interesting than stock-standard Monopoly, but Richman 4 Fun has lived the impossible dream and achieved just that.
Charade Manicas is two individually brilliant games that, combined, are the lesser sum of their parts. I can see why the developers would be intrigued by the combination of the otome and death game mystery genres. I can see the commercial appeal too, given what a runaway success the death game genre continues to be. However, despite excellent production values, a great cast, and a well-written mystery, this particular combination chills rather than delights.
I might not be much of a Sonic fan, but I know that if Square Enix had done the equivalent of this to that Final Fantasy Pixel Remaster collection, I would have blown my top. I did give the lazy effort to bring the mobile ports of Dragon Quest 1 – 3 to Switch a piece of my mind, and I don’t see that SEGA’s done any better with the Game Gear games here. The good news is that if you’ve already got Sonic Origins, then you’ve got all the bits of Sonic Origins Plus worth playing.
The creative team behind Danganronpa and, now, Rain Code, are a rare group in video games. They know how to entertain – I didn’t even mention the “replacement” for Monokuma in this game, but Shinigami the ghostly reaper is somehow even more brilliant foil and source of sadistic humour than the iconic bear. But under all the hyper-colourful art, the mysteries that would give Sherlock Holmes a run for his money, and the sheer energy and panache of it all, they also offer something intensely thoughtful with a strong and blunt message to share. As much as I loved Danganronpa, by the end of the third in that series I did think they were running out of ideas. As it turns out, all they needed was a new creative playground.
There is a lot to like about Loop8, and there’s the sense that the creative team put a lot of work into the symbolism and theming of it. They shot for the stars. Unfortunately, it fell slightly short, and while it’s interesting and different, it never lives up to the clear potential it had. But that’s also okay. At least they tried something different. Gaming wouldn’t be worth it if people didn’t take a creative risk every once in a while.
It’s far too early to determine where Final Fantasy XVI sits in the ranks of Square Enix’s venerable series. However, this is an engrossing, entertaining and, most importantly, fiercely intelligent game. The developers have taken the AAA-blockbuster budget they had to work with, and used it to craft an experience with a strong, provocative and timely message, and then backed it up with some of the most entertaining action combat we’ve ever seen. Not a second of the game’s runtime is wasted, there’s not a single dud character, moment, or scene, and the plot is a riveting epic “page-turner.” If only more blockbuster games were like this, game development would be a far more mature art form.
A Wonderful Life on the GameCube was perhaps the most perfect execution of the Harvest Moon (now Story of Seasons) ethos out of all in the long-running series. As such, it’s the one that also generates the strongest pathos. Heart-meltingly warm good-naturedness, mixed with a perfectly adequate remake make this wholesome masterpiece relevant all over again. With the state of the world being this lousy, these little escapes are more valuable than ever.
However, for all the good, the reality is that Bleak Sword is in serious need of substance, and the novelty of a “lo-fi Soulslike” on mobile is lost a little on a proper console.
Sakura Dungeon is, ultimately, a fan service delivery mechanism. But it’s one that doesn’t overlook the need to also be an enjoyable game. Were you to remove the fan service, the no-frills approach to dungeon crawling would still be enjoyable. Not exceptional, no, but still enjoyable. The Switch version is inferior to the PC release from a half-decade ago because there isn’t the option for the adults-only version that some would prefer, but that aside, if you’re content with “all ages” fan service and a genuinely good dungeon crawl backing it up, then you can do far worse than this.
Sorry, devs. You are very wrong about that. Demon Sword Incubus may technically work. But it’s not inspiring or interesting. It’s not even good. Most egregiously of all, though is that it lacks the one thing people bought the game for. In a very real sense, buying Demon Sword on Switch is like buying a porn DVD with the nudity and sex cut out. What’s left when you do that?
Hatsune Miku: The Planet of Wonder and Fragments of Wishes is not the finest Hatsune Miku “spin-off”, but it is a delight in its own right. It might only offer a small library of minigames, but they all play nicely, and the bubbly charm behind every second of the experience is infectious. I am intrigued by the future and what Crypton could do now that they have the assets to start delivering story experiences. More than anything else, however, this is a Miku game, and in a very simple and pure sense, spending time with it makes me happy.
Overall Super Mega Baseball 4 is immensely disappointing and an unworthy successor to its predecessor. SMB 3 was a genuinely fun and clean playing arcade baseball game, and never needed to be more than that. Now, though, it seems like the series is being positioned as a viable alternative to the MLB license. The new game modes, efforts to bring real-world names into the fold, and aesthetic shifts all seem to be designed to pivot Super Mega Baseball to become something to take more seriously and commit more time to. You know, like MLB The Show. Unfortunately, these new additions are directly at odds with arcade good times and now, thanks to the influence of EA in all likelihood, we’ve been dumped with a series experiencing an identity crisis.
Thankfully, that didn’t miss the mark. Jack Jeanne is a celebration of the finest qualities of theatre, held within a visual novel that’s enjoyable to read. It has some distinctive, evocative art, and some minigames that help make the overall experience even more engaging. Yes, sure, future generations might not study these plays in school, as they do Shakespeare and Chekov, but the plays-within-the-game framing allows the writers to explore a love for the form, and that passion and respect infuses every second of the experience.
In theory, a roguelike FPS could work, however, there needs to be a very specific reason to even try. Nightmare Reaper never gives us that reason. It comes across like a game that’s a roguelike purely because that was how an indie developer should shove 100 levels of grind into it. There’s no narrative nor thematic value to it being a roguelike, and in all that randomness, it loses the soul of what makes those games it pays homage to so special.
I’m torn on these remakes. On the one hand, I don’t think they work on Switch. Not in recreating the original vision of Etrian Odyssey, at any rate. The best way to play these is to jettison the mapping feature that was so core to the experience on the DS and 3DS. This truly is disappointing. On the other hand, even as a stock-standard set of dungeon crawlers, the three Etrian Odyssey titles bundled up here are beautifully elegant, ethereal, and artful. They’re challenging and fundamentally enjoyable, classic dungeon crawlers. If these new releases help a new legion of people discover Atlus’ dungeon-crawling genius for the first time, then I’m ultimately very glad they exist.
I do think that if developers want to tackle World War 2 as a subject, they need to go one of two paths. They could take a clinical approach and create a wargames simulator that focuses purely on the strategy. Or they could create a serious commentary that deconstructs and analyses the war. What they should not be doing, however, is presenting the war as a purely entertaining experience. As a work of pure entertainment, Company of Heroes 3 would have been better served tracking a fictional war. However, its quality as a piece of entertainment is undeniable, and for most, that’s going to be all that matters. It also works far better on a console than I would have expected something from the RTS genre to ever do. For those that do find World War 2 to be entertaining, this one’s going to be hard to resist.
I really wanted to enjoy Sunshine Shuffle so much more than I did. I love poker, noir, and anthropomorphised characters. It should have been a slam dunk, but unfortunately, the execution of the strong concept left me cold. I can see what the developers were aiming for, but sadly they never quite get there.
This is a problem across the entire games industry and far too much of the work it produces. What makes Gollum stand out is that most other developers and publishers then use their creative teams to try and hide the crass cynicism and capitalism. Daedalic didn’t bother with Gollum. This game represents the games industry with its mask off.