Turtles In Loop

HIGH Fluid combat and solid build diversity.

LOW Paper-thin story.

WTF The Shredder knows who Plato is?!

Teenage Mutant Ninja Turtles: Splintered Fate is an honest attempt at the roguelike genre featuring the four titular heroes in a half-shell.

The setting and art direction successfully mimic Nickelodeon’s beloved TV series, all the way down to the constant banter between Leonardo, Raphael, Michelangelo, and Donatello, as well as with the inclusion of the handful of familiar baddies they have to beat (and re-beat, and re-beat again) throughout the campaign.

All of this is to be expected by TMNT fans, and the game rightfully delivers on all fronts when it comes to allowing up to four players to spend an afternoon controlling the ninja rascals while slicing through hordes of cutesy foes. However, aside from that specific draw bolstered by some admittedly infectious dynamism, there isn’t much here to warrant prolonged attention. 

As mentioned, Splintered Fate is structured as a roguelike, meaning players will progress through randomly-generated stages in linear fashion while earning currencies, learning skills, and besting bosses at regular intervals during a full run lasting roughly 30 minutes. It’s played from a top-down perspective that allows players a clear view of the action, instantly making it a fair (yet chaotic) romp given the sheer quantity of enemies that will fill up the screen.

The plot has the turtles dealing with an enigmatic character who’s kidnapped their master and locked him away in another dimension. They urge the boys to complete a series of stages accessible through a portal conveniently placed within their hideout. With (roughly) each new attempt, the turtles accrue clues on how to ultimately rescue Splinter and get him back. Unfortunately, the runs don’t vary much, and players will have to witness the same collection of bland, uneventful-looking biomes and the same bosses in the very same order (with only slight random variations from time to time) over and over again. 

While the plot isn’t anything to write home about, each line of dialogue is dutifully recorded with a cadence that resembles the TV shows, and it goes a long way to selling the experience to fans. Granted, not every videogame needs to propose a philosophical basis for why we, as players, “need” to willingly initiate the next chapter of play while postulating semi-hidden meta-commentary on the nature of life, but Splintered Fate is an example where it’s clear from the get-go that story doesn’t matter — and truth be told, allowing oneself to get entangled in building an all-powerful turtle is incentive enough to keep restarting the same loop for a good while.

Unsurprisingly, up to four people can play together, either locally or online, each controlling one of the turtles while trying to navigate the ever-increasing onslaught of enemies with brightly colored area-of-attack indicators heralding each offensive move. Splintered Fate does a fine job of intuitively teaching newcomers its core mechanics and allowing them to get into a rhythm before long — the action is always zappy, fluid, and entertaining, with various combinations of enemies and bosses aggressively racking up the difficulty to eventually force the player into a more calculated, hit-and-run style. Learning how to spot tiny gaps between enemies’ attack chains to land a crunchy critical strike is as satisfying and rewarding as one would hope.

In addition to this smooth teaching curve, Splintered Fate also features a fair amount of character variety and RPG elements, evident from the very screen when we get to select a character.

While each turtle uses a different weapon with a unique attack speed, reach, and combos, Leo can store up to two special attacks at once, Donatello heals between rounds and more quickly recharges a “Tool” attack, Raphael is all about scoring critical hits and Michelangelo receives multi-hit bonuses — and is generally more likable than the rest!

On top of that, players get to pick between various boosts upon clearing a room, allowing them to apply elemental damage-over-time effects like fire, lighting, and poison (or whatever “ooze” is supposed to be), as well as increasing their chance to score a critical hit or dodge an enemy swing. Defensively, we can use a small dash move to get out of danger, which replenishes after a few seconds to remind us that situation awareness is supremely important in Splintered Fate. 

While this may sound a bit complex, that’s not the case in practice. Once the action starts and upon clearing a room, a selection of two or three powers appear on screen that players can choose from in true roguelike fashion. For example, playing as Donatello, I might be prompted to choose between prolonging the invincibility period of my Tool attack or increasing the reach of my Special attack, making it easier to strike fools in all directions at once.

Aside from that choice system, we also earn currencies that can be spent to bolster certain aspects of our build — things like getting a revive that automatically respawns the character upon death, or permanently increasing things like health points or faster move speed. Of course, such a scheme coalesces into a satisfying advances, as even failed runs allow one to make critical upgrades across the board, boosting the desire to surmount each of Splintered Fate’s challenges.  

On the flip side, this system proved unable to combat the staleness that started to creep in once I had successfully been through a dozen successful runs. Of course no game is meant to last forever, but replay and variety are hallmarks of the roguelike genre and in this way, Splintered Fate comes up a bit short. It’s a good time while it lasts — especially for Turtles fans — but more content, more variety and perhaps a little more narrative would have boosted the experience to the next level. But still, it’s OK!

Rating: 7 out of 10 

Disclosures: This game was developed and published by Super Evil Mega Corp. It is currently available on Switch, PS5, XBX and PC. This copy of the game was obtained via publisher and reviewed on the Switch Lite. Approximately 10 hours of play were devoted to the game, and it was completed. About 45 minutes were spent in online multiplier with two other players, while the maximum player count is four. 

Parents: This game has received an E rating from the ESRB and contains Fantasy Violence. The game features the titular cartoon characters as they battle through hordes of enemy ninjas and robots in an attempt to track down and save their kidnapped master. The writing, action, and art direction are all faithful to Nickelodeon’s long-running Teenage Mutant Ninja Turtles series. 

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: All dialogue in this game is shown via textboxes and fairly well-acted voiceovers, so they’re easy to keep track of even mid-fights. All enemy attacks are clearly telegraphed on-screen with easy-to-note areas of attack. I’d say this game is fully accessible. 

Remappable Controls: This game doesn’t offer a controller diagram and the controls are not remappable. However, the controls are displayed at all times during gameplay at the screen’s corners for easy reference. On the Switch, the face buttons are for striking, using special attacks, and dashing in and out of danger, while the left stick moves the character.

A Witch In Time

HIGH Fast action. Intense enemy design. Impressive visuals.

LOW Puzzles can be offputtingly difficult in single-player.

WTF There are challenge modes to make things harder???

Teagan wasn’t expecting to start her morning tied to a stake and being burnt as a witch. She certainly wasn’t expecting to be rescued by the spirit of a deceased witch and forced to run for her life without time to mourn her fallen brother, Edwin. 

Finding out that she is descended from a line of witches tasked with maintaining the flow of time and preventing the fall of mankind was almost too much to bear.  Now she must master her newfound powers, attempt to save Edwin by going back in time, and also defeat hordes of enemies under the thrall of the mysterious Dark Puppeteer. 

TimeMelters is a game that nearly defies genre classification. 

It’s partially an action title where players control Teagan from a third-person perspective as she navigates through a fantasy equivalent of the Scottish Highlands while battling foes with an array of magic bolts and life-draining powers. 

However, it’s also something of a strategy/tower defense hybrid.  Teagan gains the ability to go into spirit form, allowing her to fly above the map for a quasi-bird’s eye view to activate summoning and infusing powers while time slows to a crawl. 

Alas, the Dark Puppeteer’s forces are legion, and Teagan, while powerful, is a glass cannon. It takes only one enemy slipping through her defenses to kill her.  This is where TimeMelters debuts its game design coup-de-grace in the form of a third aspect — a time rewinding feature that grants the ability to reverse the flow of time and create copied echoes of herself. These echoes will repeat Teagan’s previous actions exactly, up until the moment that echo would have been killed. 

For instance, the player can move Teagan past a group of enemies the previous version of her has already have killed (tenses are hard when it comes to time travel!) allowing her to concentrate on other foes or achieve other objectives the first echo wasn’t able to. It’s even possible to further alter the timeline by using an echo to distract an enemy that the player can now ambush or lead in yet another direction towards a trap.  It’s astonishing to watch in action. 

I know how this sounds, but read it all again — it makes sense, even if it makes one’s head hurt — but the brilliance of this design cannot be understated.  Using time manipulations and copies of Teagan to defy the odds and solve puzzles that would otherwise be impossible made me feel like a genius. However, therein lies the rub.  I am not super-great at three-dimensional, multi-linear thinking, so this was a real challenge. 

Thankfully, handy markers display the numbers of enemies in a group and the route they are currently taking, which then help the player plan the best use of the limited mana and small number of clones Teagan has at her disposal. For instance, she can kill enemies closing in on her position to gain mana, then switch to spirit mode to scour the map for groups she can ambush so she doesn’t have to deal with them later.  While this all takes a little bit of getting used to, it becomes second nature far more quickly than I would have believed when I first started playing. 

…Then I discovered the co-op campaign. 

With a friend joining in via the Playstation Network, two people can take control of Teagan and her brother, traversing the many levels in TimeMelters‘ campaign, though with slight adjustments in the storyline, dialogue and mission structure. 

For instance, Edwin starts one mission at the opposite end of the map from Teagan, providing cover for an NPC who needs to be protected as he slowly meanders towards the mission goal — a task which Teagan had to coordinate on her own alone in the singleplayer version. 

Players share a mana pool and the rewind feature but they otherwise act independently, so planning and coordination are a must. However, this is offset by bringing double the firepower, which makes battles and puzzles much more manageable than in the single-player campaign.

Despite the fact that I was being pushed to creatively think and temporally strategize in ways that games have rarely asked me to, TimeMelters is a must play — especially for players who have someone to share the cognitive load with. 

Even at its most frustrating, the brilliance on display here is addictive. It would be goofy to say TimeMelters is the best action/strategy/time clone hybrid involving witches I’ve played all year, so let me broaden it a bit and say that it’s one of the best games I’ve played this year, bar none.

Rating: 8.5 out of 10

Disclosures: This game is developed and published by Autoexec Games.  It is currently available on PS5 and PC. This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 12 hours of play were devoted to the single-player mode, and the game was not completed. Three hours of play were spent in multiplayer modes.

Parents: According to the ESRB, this game is rated T and contains Blood and Violence. This game features witches using magical forces to kill both human and non-human enemies.  The protagonist absorbs the souls/spirits of dead opponents to power further magical attacks.  The game features heavy occult themes and not-for-kids moments like burning suspected witches at the stake as well as necromancy used as a secondary attack for the protagonist.  There is blood, but not excessive amounts, and most players have seen far worse in other games.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles cannot be altered and/or resized. All story-based dialogue during cutscenes is fully subtitled. The majority of in-game dialog is fully subtitled, with occasional declarations by the main character(s) being voice-only.  These additional declarations do not cause the player to miss anything plot specific, but they do add flavor to the moment. I’d say the game is fully accessible.

Remappable Controls: No, this game’s controls are not remappable.

In this episode, Brad covers:

Dungeons of Hinterberg
Deathbound
Neo Harbor Rescue Squad
Overboss
Phantom Spark
Arco

…And more!

You can also hear the show on iTunes and Spotify!

Please send feedback and mailbag questions to SoVideogamesPODCAST (at) gmail (dot) com, or post them in the comments section below. Thanks!

Almost At The Podium

HIGH A solid mix of racing game ideas. 

LOW Unnecessarily difficult in some places.

WTF We need more homages to Gran Turismo! 

I seek out different kinds of racing games, especially when I review here at GameCritis. It’s an important and beloved genre for me, and there’s no shortage of exciting stuff coming out — offerings range from simulators to over-the-top arcade stuff, and anything in between. Of course, most of the titles I play tend to show off cutting-edge graphics, real-world cars and massive worlds to drive around in. Super Woden GP II is decidedly not that, but it did lure me in with some welcome ideas. 

Played from an isometric angle, SWGP is an arcade racer with several modes. On the surface, it seems like a deceptively simple experience with visuals and gameplay reminiscent of older arcade titles (think Over Top or Super Drift Out) but the depth becomes apparent thanks to the sheer amount of content. 

The most prominent offering is Career mode, which sees players competing in championships on closed circuits. Each of these competitions revolves around a series of races that net players credits to buy cars that can then be upgraded for more events. Pulling from the likes of the original Gran Turismo (down to the main menu’s design) there’s a great loop of racing, upgrading, and car collecting here that I appreciated.

There are over 100+ cars here, each from different countries and manufacturers. While all fictional, it’s not hard to spot clear homages to the Ford GT or Toyota AE86, and every vehicle has a distinct handling model, with stats that can be upgraded. Similar to the original GT, there’s a special kind of joy in buying a cheap car early on and building it up to compete against the best of the best.

While I appreciated the gameplay loop, I do have to admit the lack of a lot of accessibility options soured the experience overall. Part of this is that I found SWGP quite difficult at first, thanks to my inexperience with isometric racers. Turning corners and keeping up with AI-controlled opponents was rough initially, and the lack of a controller map was odd, not to mention the confusion caused by a lack of any tutorials.

Despite those initial frustrations, I did find myself enjoying it, and play was more manageable once I bumped the difficulty down to easy and practiced on tight corners. I did appreciate the onscreen indicators that told me when to turn or to watch for hazards, but I did wish there were more optional concessions made for newcomers. 

Other modes outside of Career include Time Trials where players can compete for the best times on global leaderboards and the best mode, if you ask me — is rally mode, where players race on various terrain under extreme conditions. Being forced to race a clock that’s winding down and trying hard to hit every checkpoint is not for the faint of heart, but I know with some practice I can get there. 

Overall, Super Woden GP II’s marriage of old-school arcade racing and a modern focus on car collecting is a fairly successful one, as I certainly enjoyed buying cool-looking cars and building them up for the big leagues. While the lack of options and accessibility features can use some fine-tuning, I’m certain those with a love of racing games (and a lot of patience) will get some good mileage out of this one. 

Rating: 7.5 out of 10

Disclosures: This game is published by Eastasiasoft and developed by Vijuda. It is available on PC, PS5, PS4, XBO/S/X and Switch. This copy was obtained via publisher and was reviewed on PS5. Approximately 5 hours were spent in single-player and the game was not completed. There is multiplayer.

Parents: According to the ESRB, this game is rated E10 for Mild Violence and Alcohol Reference. Nothing objectionable here, as it’s just racing. Players can crash but the damage model can be turned off in the main menu.

Colorblind Modes: Colorblind modes are not present in the options menu.

Deaf and Hard of Hearing Gamers: There are plenty of visual cues in gameplay, but there are no options to resize any of the text or menus. Even so, I’d say it’s fully accessible.

Remappable Controls: The controls cannot be remapped and there are no diagrams. On PS5, R2 is to accelerate and L2 is brake/reverse. The Left Stick is used to steer.

The Baconator Returns

HIGH It’s endlessly charming. The new soundtrack is fantastic.

LOW The extra features are not explained. The museum lacks polish.

WTF Tomba keeps items in his stomach, like Snake did with cigarettes in Metal Gear Solid…

Tomba! Special Edition is a reminder of the bygone days of the PS1, when developers took experimental approaches to the then-new Sony console. Tomba!, a 2.5D game from 1997, defied the logic that 3D was where every developer should be heading. What resulted was an experience that still looks beautiful, has a ton of charm, a cult following, and remains enjoyable more than 20 years after its debut.

Tomba! Special Edition is an action-platformer with light RPG elements. The titular character must defeat the evil Koma Pigs to recover his stolen bracelet. Along the way, Tomba will encounter and befriend many creatures and people who need help, while also carrying out objectives to advance the story, finding ways to the evil pigs’ lairs, or opening new pathways to needed items in this fairly non-linear adventure.

The characters are all endearing and charming in their own way. From standard fantasy dwarves to wilder fare like mouse cowboys, each area was packed with unique and colorful characters. Each map is bright and picturesque, and the music has been wonderfully enhanced with a remastered soundtrack that pops.

Looking at the gameplay, platforming is the star of the show here, as Tomba is given various methods to traverse the world, such as a parasol for slowing down his fall rate or a grapple line to grab and swing from various objects. The 2.5D aspect also allows Tomba to go into the background and play in a different part of some levels. This was a pretty clever way to add… depth…. to platformers, which often didn’t use background layers like this. In this aspect, Tomba! excels.

To dispatch enemies, Tomba must jump and grab onto them, so that he can then fling them. Sometimes stunning them is necessary first, and combat never became dull since different enemies required unique strategies. The boss pigs in particular were a highlight, as each has their own arena where the objective is to throw them into an Evil Pig Bag. (Yes, it’s called that.)

As Tomba! Special Edition is an updated release, there are some great quality-of-life features that I found incredibly helpful during my time playing. For starters, there’s a helpful rewind feature that allowed me to move the game back anywhere from a few seconds to a few minutes. This allowed me to retry difficult platforming sections without losing progress or health. There’s also a way to save at any time, which made the challenge even more friendly to new players of the series, like myself.

In addition, a museum feature allowed me to view art and documents, such as advertisements and manuals. There were also videos with Tokuro Fujiwara (director and creator of the series) about the development process of the original Tomba! and a music player where any of the tracks can be listened to.

While this new version of an old classic seems great as I’ve described it so far, there are a few issues with both the game and the supplementary material.

For example, with the historical videos, there’s no way to rewind or even pause the playback. This seems like a pretty standard feature in 2024, and the omission of any controls here is pretty annoying.

In regards to the game itself, it suffers from long load times between areas. In many cases, this isn’t really noticeable, but when having to many between short screens in succession, it became an annoyance. There’s also noticeable frame juddering, particularly when weather effects are present.

Also annoying is that the rewind and save features are not explained to the player beforehand. I figured them out by pressing random buttons, which is hardly optimal. New features like these need to be explained, so people will know exactly how to take full advantage of them. (The music also cuts out for a few seconds when using rewind, taking me out of the mood.)

Mechanically, Tomba! Special Edition suffers from some wonky physics, although these issues were present in the original. When swinging between platforms, it’s common to miss the next one due to how easy it is to overshoot an object and how little time to correct there is. Jumping also feels imprecise, often feeling too floaty.

Finally, mission design is often a bit too obtuse for its own good. For example, sometimes it’s necessary to talk to unassuming NPCs several times despite not having any reason to do so. There’s also a good deal of backtracking to be done, and sometimes I felt frustrated wasting time looking for answers, only to find that something else needed to be done first. Clearly, we’ve learned a lot about signposting and quest structure since the game was originally designed.

Tomba! Special Edition is a charming reminder of the experimental days of the PS1 era, and the cute characters and wonderful soundtrack still appeal. However, the flaws in this port and some of the game’s original issues might make it a bit tough for newcomers to fully embrace this beloved cult classic.

Rating: 7 out of 10

Disclosures: This version of Tomba! is developed and published by Limited Run Games. It is currently available on PS4/5, XBO/X/S, Switch and PC. This copy of the game was obtained via publisher and reviewed on PS5. Approximately 8 hours was devoted to the game, and it was not completed. There is no multiplayer mode.

Parents: This game has an ESRB rating of E10+ rating for Alcohol Reference, Crude Humor, and Mild Fantasy Violence. The ESRB rating states: “This is an adventure platformer in which players follow a hero (Tomba) attempting to retrieve a stolen keepsake from evil pigs. From a side-scrolling perspective, players traverse whimsical environments while collecting fruit, performing quests, and defeating animal/monster enemies. Players use a spiked ball to knock out enemies; player can also grab and toss pigs into other characters. One mission involves fixing a pump to provide wine for a village. One level depicts pixelated cherub characters urinating on the ground; the cartoony cherubs’ pelvic regions and buttocks are briefly depicted. ”

Colorblind Modes: There are no colorblind options.

Deaf & Hard of Hearing Gamers: The game offers subtitles, but only during gameplay. Subtitles cannot be resized. (See example above.) This game is not accessible, due to a lack of subtitles during voiced cutscenes.

Remappable Controls: No, this game’s controls are not remappable. A screen will appear before the game is started that explains the controls. On PS5, circle attacks with the equipped weapon, X is for jumping and can be used to scroll through text, square is for interacting with objects and NPCs, triangle opens up the items menu, the touchpad opens the entire menu, L2 opens the rewind menu, and R2 opens the emulation menu. The first areas of the game will also explain them. However, there is no way to reference most of these controls without either restarting the game (since backing out to the main menu is not possible) or going back to the tutorial areas. The rewind and save anywhere features are not explained at all.

The Best “Back To School” Since Rodney Dangerfield

HIGH That moment when your old dorm is accurately represented in a videogame.

LOW Mode selection is a little lackluster.

WTF Academic performance tracking is my weekly nightmare come to life.

I don’t remember exactly where I was the last time I played a new college football game but I’m sure the scene involved me, my couch, and a noticeable cushion dent from hours of endless play. It’s not a pretty picture, but it is an accurate one. Now, after nearly 11 years away from digital collegiate gridiron, I was skeptical that EA Sports would be able to recapture that “just one more game” feeling.

Oh, EA Sports proved me wrong in so many wonderful ways.

College Football 25 (No “NCAA” this time around) is an outstanding, immersive, nostalgic title that quickly carves out its own identity against the inevitable Madden comparisons. Yes, those familiar with EA’s pro title will easily adapt to College Football 25’s controls and gameplay, but those — ahem — schooled in collegiate strategy and atmosphere will find themselves with a notable advantage.

The unparalleled college vibe is one of the biggest surprises after more than a decade away. The old NCAA series always did a solid job of emulating stadiums and crowd noise, but modern technology has allowed them to recreate the unique environments that each home school provides.

Fans of major programs like Clemson and Alabama will lose themselves in how seamlessly the designers implemented mascots, in-game chants, student traditions, and more. There’s even a noise meter that shakes the screen and affects playcalling, giving home teams a distinct advantage in competitive situations. Small, moderately successful schools might trigger the needle a little, but big schools with bigger money programs will regularly reap the rewards of the home field.

It even showed for my alma mater, the University of Maryland, which may not be a top-tier football school among its peers in the Big Ten Conference, but we did have an original set of chants and music to accompany our team. Sure enough, when in a crucial in-game situation, the students reacted accordingly, elevating the atmosphere tenfold. All of it was flawlessly represented alongside the nuances that made our school stand apart. And no, this level of detail isn’t exclusive to bigger schools — even the smaller programs receive the same level of detail and unique presentation.

Of course, none of this matters if the on-field visuals are lackluster. Thankfully, EA Sports made the most of its 11-year respite — every player on the field demonstrates a unique look and feel. Linemen seem a little jumpier than their professional counterparts. Defensive secondaries find themselves scrambling a little more before the snap. Quarterbacks don’t appear quite as composed. In other words, they seem like young adults tasked with handling some immense, big-game pressure. Plus, the player models are (generally) a little smaller and less monstrous than professional players. These details are subtle but add so much in helping College Football 25 stand apart from its more established big brother.

Another exciting aspect of the college game is that not every player is awesome. Deep pass plays are riskier, and big running gains are more likely against suspect defenses. Where Madden has its handful of top-rated receivers who seem to have glue on their gloves, the college level reflects teams of players who are still learning as they go, and that means nothing is “automatic.” When big plays happen, they just seem to mean more to the player.

That said, CF25 acknowledges those who take time to learn. (This is a college game, after all.) While smaller programs might not see initial success against juggernauts and experience some initial frustration, growth is earned and learning how to maximize each player’s skill set is a rewarding experience from season to season.

My only complaint about College Football 25‘s gameplay is the same I’ve made for most football titles — there continue to be plays and moves that are simply too easy to spam. (Just check YouTube for some of the spin move “highlights.”) Good players will always find a way to adjust, but newcomers online might find themselves stopped before they even get started. I was fortunate to not see many people abusing these quirks, but over time, I anticipate steeper beginner learning curves.

Since launch, I’ve seen a lot of online chatter about College Football 25’s “thin” and “disappointing” selection of modes and features, but I see this as a positive because I think it was vital for the developers to focus more on developing unique, rewarding on-field gameplay, and it seems they agreed. Of course, it doesn’t exactly lack variety with a solid selection of the modes we’ve come to expect from EA Sports titles.

For those looking to spend significant time in the trenches, Dynasty mode is far more rewarding than its professional counterpart, mostly because the focus is on winning, player development, and team success, rather than keeping high-profile players satisfied season over season. Here, users can help a struggling program methodically improve and find intermittent successes along the way. Maybe it’s getting close to being ranked among the top 25. Maybe it’s knocking off a top-ranked opponent. Maybe it’s being considered for a coveted bowl game. Minor, moral victories seem to matter more at the collegiate level since there’s just so much more to aim for than one solitary trophy.

Unfortunately, the touted Road to Glory mode, while more streamlined than Dynasty, doesn’t give users enough to do over its shorter career span. At first, this exercise of allocating experience points to improve on-field performance seems enjoyable. But tasks like improving academics and resting injuries quickly become a week-to-week slog, more busywork than play. Likewise, the limited Road to the CFP mode will appeal to those who want bragging rights, but there’s little to do beyond seeing a name on leaderboards. With more attention, this could become a legitimate mode for those seeking to achieve online immortality, but there’s still room to expand it into something deeper than just a ranking.

As expected, College Football 25 features its own Ultimate Team mode, which is identical to the countless revisions we’ve seen in Madden over the years. For users into card collecting, trading, and yes, spending to build an unbeatable squad there are no surprises to be had, other than some moderate challenges to break up the grind. While I probably need to get with the times and accept these modes as part of gaming reality, here it seems redundant, rather than necessary.

Online, the game performed flawlessly during my testing, with no lag or latency. Lobbies were easy to navigate, and games started quickly. It allowed me to recreate my favorite college matchups, playing with my favorite college roommate. Only now, 1,300 miles separated us, even though the conversations and laughs remained the same.

And that perfectly illustrates the bigger point. To fans like me, College Football 25 is about as pure a gaming experience as there is. It wasn’t an online leaderboard or card-collecting mode that made fans beg EA Sports to bring back college football. It was the memories of trash talking on the couch, and recreating a rivalry. It was figuring out those spam plays and finally shutting them down. It was a throwback to gaming’s roots when higher scores were all people needed to enjoy themselves.

I could belabor this review with more examples, but in the end, there’s only one key takeaway — College Football 25 delivers on the memories I just listed, alongside countless others. And I can’t wait to see where the series goes from here.

Score: 9 out of 10

Disclosures: This game is published by EA Sports and developed by EA Orlando. It is available on XBX/S and PS5. This game copy was obtained via publisher and reviewed on the XBX. Approximately 15 hours of play were devoted to the single-player mode, and the game was not completed. Approximately 5 hours of play were devoted to online multiplayer.

Parents: According to the ESRB, this game is rated E. This is a realistic representation of full-contact college football, and some tackling animations and injuries may concern some parents.

Colorblind Modes: Colorblind modes are available in the Game Settings menu.

Deaf & Hard of Hearing Gamers: College Football 25 features subtitles, speech-to-text, and numerous tactile feedback features in all modes. The game is easily playable without sound and is fully accessible.

Remappable Controls: No, the game’s controls are not remappable.

Trapped In Its own Shadow

HIGH The golf segment.

LOW Literally waiting on the bus.

WTF Why is there not an effective synonym for shadow?

SCHiM makes an excellent first impression. 

Shown from an isometric perspective, SCHiM’s world feels alive — cars buzz down busy streets, children play in the park, and birds fly through the sky.  Each of these elements casts a shadow, some of which appear to be alive with great blinking eyes peering back and forth.  Taking control of a displaced shadow, the player must leap between other shadows in pursuit of their missing human.

The story begins in childhood.  A young boy and his shadow explore and play before he eventually grows into a teenager, young adult, and finally a man. Told entirely through pantomime, I watched as the man went through hardship before ultimately losing connection with his shadow.  Each stage of SCHiM involves the player controlling the estranged shadow and pursuing him across city streets, construction sites, and beaches in an effort to reconnect.  While the thematic elements at work here are not particularly unique, they are relatable, especially with the state of the world today. 

Represented as a frog-like being, the player-controlled shadow can only survive in shadows cast by objects in the world.  Missing a jump and ending up between shadows on “land” spells almost instant death – mercifully, the developers allow the player a single ‘safety jump’ to course-correct after a miscalculation.

In this situation, both planning and opportunism became my biggest allies. I surveyed my environment, analyzing things like the patterns of pedestrians, the flow of traffic and the flight path of a bird, waiting for my moment to strike.  As the world wheeled around me, indifferent to my presence, I keyed into its rhythms, readying myself to spring forth.  There is an almost tactical nature to this process that belies the simplistic, cutesy façade of quaint towns and living shadows.

Unfortunately, failure in these instances grinds play to a halt.  More than once, having missed a critical jump, I found myself simply sitting, waiting for the next passing vehicle or cyclist to hitch a ride on.  At times, these waits were so protracted that I wondered if I’d taken a wrong turn and hit a dead end.  Many of SCHiM’s levels are expansive, and despite a button dedicated to moving the camera in the direction of the goal, I would often find myself lost.  The top-down perspective with a limited window into the world only exacerbates this issue.

I found SCHiM to be more successful when it broke out of the monotony of open, sunny city streets and moved the action to more linear levels with intentional theming — things like a rainy night with shadows appearing and disappearing with each lighting flash, or a burning building with dynamic shadows that ebbed and flowed with the light provide welcome mechanical mix-ups.  Unfortunately, these more tightly-designed stages are the exception rather than the rule, making up a disappointingly small percentage of the overall experience.

Beyond the general platforming that makes up most of SCHiM‘s play, there is also a mechanic by which the player can influence the object they are currently inhabiting.  For example, it’s possible to raise the forks of a forklift when in its shadow, thereby creating a bridge to my destination. Some of these are more kinetic, such as a clothesline that acts as a trampoline, or a carousel that can be used as a slingshot to launch the player across the map.  These moments, bouncing through the environment, skipping from shadow to shadow fluidly, find SCHiM at its best, and the juxtaposition of realism and whimsy provides real joy when the developers fully explore their mechanics of light and shadow.

Unfortunately, mechanics like these feel underutilized. Sometimes I could prod a bird into flight, but more often than not it would simply chirp, content to sit in the grass. Most of the inhabitants of SCHiM react this way – a dog might bark or a person might sneeze, but rarely do they provide a useful reaction. I sometimes found myself unsure where to go next, only to discover that I was supposed to interact with an object but had forgotten the mechanic even existed because it so rarely produced results. 

SCHiM is built around contrast —  light and dark, youth and age, harsh reality and naïve whimsy.  Unfortunately, this dichotomous nature leaks into its mechanics, leading to an overall sense of inconsistency.  The moments of touching beauty and joyful movement it sometimes creates stand in stark opposition to the frustration and confusion when play breaks down.  This juxtaposition doesn’t make SCHiM a failure, but it casts a shadow over the experience that’s hard to see past.

Rating: 6 out of 10

— Ryan Nalley

Disclosures: This game is developed by Ewoud va der Werf and published by Extra Nice.  It is currently available on PC, XBO, XBO/X/S, PS4/5 and Switch.  This copy of the game was obtained via publisher and reviewed on the XBX.  Approximately 4 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: According to the ESRB, this game is rated E and contains Mild Violence.  The official description reads as follows:  This is an adventure platformer in which players assume the role of a shadow creature reconnecting with a character who has lost their shadow. From a ¾-overhead perspective, players explore city locations and interact with shadows/objects to solve puzzles. A handful of sequences depict characters in mild peril, including a child inside a burning building.

Colorblind Modes: There is not a labeled, official colorblind mode, however SCHiM allows players to customize every color on screen.  Each level is presented in a limited, high contrast color palette, and every color can be changed using a color wheel style mechanic. It should be noted that the color scheme changes with most levels and these settings are not pervasive.

Deaf & Hard of Hearing Gamers: There is no spoken dialogue in the game, therefore there are no subtitle options. All audio cues are accompanied by a visual element, so this game is fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls.

In this episode, Brad covers:

Dungeons of Hinterberg
Grow Up
Mars 2120
Thank Goodness You’re Here!
Deathbound
FNAF: Into the Pit

…And more!

You can also hear the show on iTunes and Spotify!

Please send feedback and mailbag questions to SoVideogamesPODCAST (at) gmail (dot) com, or post them in the comments section below. Thanks!

Happy Trails, Gang!

HIGH The cast’s a largely enjoyable bunch of rogues with solid writing.

LOW The battle systems are somewhat unexciting.

WTF Feri’s (13f) father’s ominously-worded letter to Van (24m).

The Trails series has been around for a while at this point, and unlike many other major JRPG series on the market, it doesn’t simply ditch the storyline of the previous entries and start afresh with each new installment. No, they’re all interlinked, with cameo appearances from one arc popping up in the next.

Such a long-term structure sounds like it could be pretty uninviting for new players beginning with later games, but as someone who only occasionally dips into this IP, I’m pleased to say that Trails through Daybreak works extremely well as a starting point for newcomers thanks to its new core cast, fresh setting and just enough explanation about prior events peppered in.

This new arc in the Trails series takes place in the Republic of Calvard, a fairly major superpower. It’s a region and world filled with recognizable tech — they have televisions, laptops, mobile phones, cars and highways, which makes much of the setting feel immediately relatable. Of course, this region has its own share of woes and social ills, and this is where a new story begins as a school girl with a heart of gold requests help from a local fixer in recovering something known as the Genesis — a keepsake of her grandfather… which, by the way, might just be part of something that might trigger the end of world.

The characters in Trails through Daybreak are pretty great overall. Protagonist Van Arkride isn’t some wide-eyed kid, instead having plenty of life already under his belt as the story begins. He’s got a reputation as a dependable fixer (here termed a “Spriggan”) who can get things done for a fee, and often employed by clients who may not want to get involved with the law for various reasons. I was initially concerned he’d lean too far into the ‘cool dependable guy’ side of the spectrum to be interesting, but he has unexpected personality quirks that make him a decent lead.

The backup cast run the gamut from good to excellent. Feri in particular is a superb addition — a fish-out-of-water child soldier whose limited experience living on the battlefield couples with her boundless enthusiasm and desire to be helpful in weird and amusing ways. Main heroine Agnes is fairly likable, even if her personality slots neatly into the kind-hearted-but-determined trope, then there’s a host of playable and nonplayable characters who get involved like Judith, a movie actress with a shadowy side gig, or the Direwolf, a beast of a dude with whom Van’s had an obviously turbulent history.

The writing and world building are solid throughout, with plenty of amusing dialogue to keep things entertaining, even when the cutscenes run long with exposition. Handled badly, the pacing in Trails through Daybreak could have been an absolute bore, but it all goes down easy thanks to a decent localization and good character work, much of it shining when players are allowed to simply breathe in each environment and potter around with relaxing, non-critical tasks between more serious events.

There’s also a minor morality system at play during certain points where Van can choose between lawful, chaotic or morally questionable outcomes. This doesn’t change who he is as a character — he’s a hero, so he’s not going to suddenly start kicking puppies into wood chippers out of nowhere. It’s more that a chaotic choice will have him come to a different conclusion. A lawful choice will have him leaving a thug in the hands of the police, whereas a chaotic choice would lead him to the conclusion that the police might not prosecute the criminal appropriately, so he’ll blackmail them to ensure compliance instead. It’s a minor thing, but it does gently guide certain responses and outcomes throughout the narrative.

In terms of gameplay, series regulars will find an admirable amount of player customization. Battles can be made as easy or as challenging as desired with multiple selectable difficulties, text and movement speeds can be sped up or cut down, and more.

Looking specifically at combat, there’s a new dual battle system on offer.

The first aspect is a little like that found in Falcom’s other famous action JRPG series Y’s, though admittedly more limited in scope. It’s a simple realtime setup where players get to stab enemies in real time or roll out of the way of attacks, best used to eliminate weaker enemies and to shunt larger foes off-balance by stunning them before transitioning to the turn-based mode to finish them off. It’s not particularly deep, but it’s nice to have the option to clear riffraff in a speedy manner instead of having to knuckle down for a turn-based brawl every time a poxy slime gets too close to the party.

This second aspect is a more traditional turn-based approach where players give each character various commands like defending from attacks, casting magical arts or simply stabbing an enemy in the face. This is paired alongside a realtime battle system where dashing around field monsters, tumbling out of the reach of attacks and smashing them into a stunned state with special moves is the order of the day.

There’s a decent amount of strategy in this turn-based, including maneuvering around the field to catch as many enemies in an area-of-effect attack as possible, or synergizing with allies so that they join in on the assault, but the delay between selection and activation of certain special moves robs play of immediacy, and seeing enemies walk out of said AOE before activation sucks.

While these systems are decent enough, I did find myself wishing the frequent battles would be over faster, so I could get back to continuing the story — a feeling I rarely have when encountering a genuinely gripping JRPG battle system. The lack of impact during battles is noticeable, with fairly stiff animations and no real oomph to each attack. As a result battles feel a little more mundane and perfunctory than they could be, and playing Daybreak right off the back of Like a Dragon: Infinite Wealth, it’s hard not to expect a little more from modern-day battle systems.

As a side note, Daybreak is full of “points of no return” where players will be warned that the storyline is about to advance and that if they haven’t done everything they’ll lose the chance forever. As someone with a completionist mindset, this left me in a near-perpetual state of anxiety. Did I talk to everyone? Did I do everything? Did I doublecheck that I talked to everyone and did everything? I’m sure I did, so let’s continue… okay, we’re now past the point of no retu — SHIT, I FORGOT TO FEED THAT F****** CAT MY PLAYTHROUGH IS RUINED GODDAMN IT!!!

Well, it’s maybe not that extreme, but I spent a lot of time doublechecking that I’d crossed everything off my list before daring to progress.

Despite completion anxiety and combat that was just a little bit lacking, I still had a great time with Trails through Daybreak — it offers an interesting world coupled with plenty of likeable characters, ultimately delivering an enjoyable journey filled with plenty of good times.

Rating: 8 out of 10

Disclosures: This game is developed by Nihon Falcom and published by NIS America. It is currently available on PS4/5, Switch and PC. This copy of the game was obtained via publisher and reviewed on the PC. Approximately 35 hours of play were devoted to the single-player mode, and the game was not completed. Still playing though!

Parents: According to the ESRB, this game is rated T and contains Blood, Drug References, Fantasy Violence, Language, and Suggestive Themes. The official description reads: “This is a role-playing game in which players assume the role of a hero hired to find a stolen heirloom. As players explore a fictional republic, they can complete missions/quests, interact with characters, and battle human enemies and fantasy creatures (e.g., giant insects, demons, robotic turrets). Players use swords, machine guns, and magic spells to defeat enemies in turn-based combat. Battles are highlighted by gunfire, impact sounds, and cries of pain. Some sequences depict blood-splatter effects as characters are attacked; a handful of scenes show blood on characters’ faces and underneath a corpse. The game contains some suggestive material: a gentleman’s club depicting female characters in lingerie dancing on poles; red-light district signage (e.g., “Show Girls”); innuendo/sexuality in dialogue (e.g.,“We’ve got a nice room out in the Entertainment District…[W]e’ll give you more girls…”; “Just don’t get too naughty, all right?”). The dialogue also references drugs (e.g., “…laced with illicit substances”; “hard drugs”; “…[I]f he’s going around selling drugs to children, he won’t be on the streets for long.”). The word “sh*t” is heard in the game.”

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. Audio isn’t required to play. All dialogue is subtitled, few mechanics are aided by audio cues, and the few that do have visual accompaniments. It’s fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls.

A Friend To All Monsties

HIGH Sublime creature designs.

LOW The age of the target audience.

WTF Stealing monster babies.

For 20 years, Monster Hunter has been one of Capcom’s most successful and enduring franchises. Yet for all its star power, the games themselves have done little to change up the central action role-playing mechanics of hunting kaiju and other beasts in its lush, feudal world.

Little, that is, until Monster Hunter Stories took it into the arena of monster-taming turn-based RPGs, ala Pokemon or Shin Megami Tensei. Having put some time into Monster Hunter Stories 2: Wings of Ruin, I can say it doesn’t take the genre to any new heights, but it does make for a solid entry into an overly saturated genre with just enough of its own character to stand out. 

For starters, MHS2 does a commendable job of replicating the core cycle of the mainline series — gear up and murder monsters using a wide array of tricks in the hope of harvesting some drops to forge or upgrade weapons and armor. Rinse and repeat with increasingly threatening beasts. 

Although mainline Monster Hunter is hardly blood-soaked, this one’s also more family friendly — the protagonist’s talking cat sidekick is only too willing to give the ol’ “Believe in yourself!” between bouts of pining for donuts. Given the genre, it’s clear this title was targeted towards a younger audience with an appropriately-attuned difficulty (AKA, pretty easy.)

The jovial tone carries through the rather serious — although not particularly grim — storyline. A mysterious evil is driving monsters to unnatural rage amid a prophecy foretelling destruction across the world. The player’s avatar must collect monsters and advance their skill as a Monster Rider to save their idyllic island home from these treacherous threats.

It’s not a particularly compelling plot, and characters lack the kind of depth that could give it more oomph, but as is the case with this genre especially, the story and questlines really aren’t important — what matters is the collecting and battling. In this, Wings of Ruin makes a strong case for itself.

Pulling from decades of material, it features some of the series’ iconic, sublime and oftentimes just badass creatures as potential partners — delightfully referred to as “Monsties.” Part of the franchise’s success is due to its memorable designs, here re-imagined in a more cartoony and vibrant graphic style. Rathalos, Tigrex, Nargacuga and more are here, along with weapons and armors that mirror them. 

Then there’s the manner in which they’re “caught.” Players enter dens — sometimes spawned when a monster fought in the wild retreats — and steal eggs to raise as their own. There is something intrinsically funny (and awful) about pulling an egg from a nest and watching the player goofily carry it out with both hands to go hatch and fight with — or, in another dark turn that never reaches the tonal surface, sacrifice it to boost the stats of another Monstie.

Stat lines are relatively straightforward — speed, crit rate, attack, defense — with some elemental flavor. There’s a neat gene mechanic where monsters try to line up certain attributes to make a bingo but this isn’t a system that needs a complex Excel spreadsheet to min-max a build. 

Similarly, combat is simple without ever being dull. It boils down to a rock-paper-scissors system of power, speed or technical attacks coupled with choice of the type of weapon (slash, pierce, or blunt). Correctly guessing which type to use against a wild monster will yield bigger rewards in damage and charging up a kinship meter, used for flashy skills and eventually to ride the player’s Monstie for a big damage finisher

On the technical side, I never ran into any issues. This release is a port of a previous Switch version, and the while graphics are nothing to particularly herald, Capcom has followed the original hardware’s limitations (and Nintendo’s ethos) in crafting an enjoyable experience, rather than anything particularly pretty.

Monster Hunter Stories 2: Wings of Ruin isn’t a shining exemplar of the monster taming genre, but it does successfully mesh the iconic aesthetics of its mainline counterpart with no-fat collect and battle systems that are as easy to approach as they are satisfying to master.

Rating: 7.5 out of 10

Disclosures: This game is developed by Capcom and Marvelous and published by Capcom. It is currently available on PS4, PC and Switch. This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 12 hours of play were devoted to the single-player mode, and the game was not completed.

Parents: According to the ESRB, this game is rated E and contains Crude Humor, Fantasy Violence and Mild Language. The official description reads as follows: This is a role-playing game in which players assume the role of a monster rider on a quest to protect a mysterious egg. Players explore a fantasy world, complete quests, interact with characters, and battle fantastical creatures (e.g., dragons, dinosaurs, giant insects) in turn-based combat. Players can select various weapon attacks (e.g., sword slashes, arrow strikes, oversized-pistol shots) and monster attacks (e.g., flame breathe, dash attack) from a menu to defeat enemy creatures. Battles can be frenetic, accompanied by explosions and screen-shaking effects. During monster tracking, players can collect monster dung; players also encounter a creature that emits a brown flatulence attack. The word “hell” appears in the game.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles cannot be altered and/or resized.  Audio cues for NPCs and enemies do not have a visual component onscreen. This game is not fully accessible.

Remappable Controls: Yes, this game offers partially remappable controls. Action mapping for buttons on the controller can be changed.

Hey all, Brad here.

Way back in 2008, the original GameCritics.com Podcast was an audio project started by some of the earliest members of GC.

Hosted by the incomparable Tim Spaeth, the first episode starred owner and founder Chi Kong Lui, the “Horror Geek” Mike Bracken, and yours truly. Together we launched into the world of podcasting and turned out a good number of shows over the years. It eventually ended for various reasons and So Videogames took its place, but every so often I’ll get a request from a past listener asking where they can catch the original GC pod again.

Not the easiest question to answer!

Several years ago GameCritics changed hosting services, and at the time there was no easy way to bring all of the content over. It got done in a rough sort of way, but there was a ton of manual cleanup to do on the files and many of the pieces we thought were successfully transferred ended up corrupted and unusable.

One of the casualties was the GC pod.

None of the pages listing the shows were functional, but all was not lost — almost all of the files were still there, so I went through and saved as many as I could, and then they sat on a hard drive in my desk for quite some time.

I had always intended to go back and restore functionality to all of the shows, but it was a herculean task to take on by myself in addition to maintaining the day-to-day running of GC and all of the real-life stuff I have going on… Little things like earning a living and being a parent to my child.

But, today’s the day. After getting another request for access to the show, I think the time may be right to finally get it done.

The plan is to post at least a couple every week — no frills, but they’ll be able to be heard again, and all of the fans who want to go back and revisit those golden days will finally be able to do so.

You’ll find them in one central location here at GC, but one potential thing to be aware of is that the audio files themselves will be hosted in the same places where SVG is held. I don’t want to pay for or manage a second channel and this needs to be as easy as possible, so folks who subscribe to SVG via podcast apps and such will see the old GC episodes popping up as well.

I apologize in advance for any inconvenience, but I think it’s a small price to pay to make these shows available to all of the folks who’ve been asking over the years. If you’re not keen on hearing the old stuff, just delete it and a new SVG will be at the top of your list before you know it.

…Or hey, maybe give them a listen and see what we were up to all those years ago! ; )

In this anniversary episode – the big 4-0-0! – Brad covers the usual smattering of new games, but closes the show with a series of questions from the listeners spanning everything from games to parenting to music… and more!

Games covered in episode 400:

Dungeons of Hinterberg
Mists of Noyah
Aero the Acro-Bat
The Lullaby of Life
Punch Club 2: Fast Forward

…And more!

You can also hear the show on iTunes and Spotify!

Please send feedback and mailbag questions to SoVideogamesPODCAST (at) gmail (dot) com, or post them in the comments section below. Thanks!

Beneath The Mask Is A Good Game, Maybe?

GOOD Beautiful, well-crafted environments.

BAD Incessant narration every five seconds.

WTF Leaving the best feature until the end of the campaign.

I love a great lore-rich experience. It’s one of the main reasons why I love videogames like Elden Ring and Assassin’s Creed. But to support the weight of that storytelling, it needs a solid foundation based on interesting gameplay, mechanics and pacing. Astor: Blade of the Monolith is what happens when that foundation isn’t as strong as it should be.

Astor is a cartoony hack-and-slash title that tells a lore-rich, interesting story about the implications of humans creating artificial life, and how that life interacts with the natural world. Unfortunately, the message is often lost behind waves of mundane combat, mind-numbing narration, and boring traversal mechanics.

Things open with the titular character and his friend Zan exploring an ancient temple to find artifacts of the past. Astor and Zan are masked puppet-esque androids who live in a sprawling fantasy world that’s been long-abandoned by humans. Astor then falls through the temple floor, collects a mysterious artifact, gets a magic sword, and finds out that he is “The Chosen” — a special member of their species that was meant to overcome an insurmountable evil.

After a lengthy tutorial, I soon learned Astor is a Diokek — puppet androids created by the humans who are no longer in this world. The Diokek are locked in a constant battle with the Hiltsik, which are similar masked androids, but evil. Both of these factions derive from the Monolith, a tall structure of black stone that towers over the land in Astor and emanates with dark energy. Later, a town elder gives a typical cut-and-paste quest structure where Astor has to go through three trials and come out the other side somehow.

My next few hours of gameplay were spent looking at Astor‘s environments while learning the basic mechanics, and the art direction in Blade of the Monolith is a shining light in a sea of mediocrity. Every environment is crafted with the intent of being a wonder to behold, featuring sweeping vistas and beautiful colors.

Yet while there are countless wonderful environments to explore, there’s not a lot to do once Astor is in them. He’s either fighting the same band of enemies for the fifth time in a row, collecting haphazardly-scattered resources to upgrade his combat abilities, or walking to the next mission. This is compounded by the incredibly annoying narrator, who quite literally spells out every single thing that happens to Astor, not leaving an ounce of space for original thought from the player to interpret their surroundings.

This monotony is extremely evident in the first world, the desert, as I had no other means to get to a distant objective other than to walk. Eventually, Astor unlocks the ability to traverse the environment more easily, but I didn’t get this until two-thirds of the way through — one of many small tweaks that could be made to the pacing of Blade of the Monolith that would make it far more enjoyable.

Additional tweaks are needed in Astor’s combat. The game tries its best to emulate Devil May Cry-esque flurries of light, heavy, and special attacks, stringing them together in elaborate combos, but the execution is lacking. For example, I’d smack a normal enemy with the starting sword, and then it would fly back, yet I’d still be in the combo so Astor would do a weird glitch-jump to continue it. None of the attacks have synergy with any other, and combos feel janky.

Furthermore, this janky combat would often distract me from crucial story moments. I’d spend entire gameplay sections not remembering what happened in the plot because I was too focused on how jarring the combat was, all while the narrator was spewing words at me.

Eventually, the combat does begin to click, but it soon becomes more of a chore than anything else, and a lack of enemy level scaling makes the entire last third of the campaign a cakewalk — but there’s a hidden beauty in that. The story that I wasn’t paying attention to in the first two thirds was now my only focus, and when I wasn’t toiling through boring encounters or walking to my next mission, I began to appreciate the slightly deeper meaning of the story in Astor, which is passable, save for the narration.

There’s a good experience buried beneath all the issues in Astor: Blade of the Monolith, I think. There’s no reason why some reworking of the combat, reordering certain elements to speed up the pacing, and putting some duct tape over the narrator’s mouth wouldn’t do wonders, but in its current state these flaws are simply too glaring.

Rating: 4.5 out of 10

— Jack Dunn

Disclosures: The game was developed by C2 Game Studio and published by Versus Evil and tinyBuild. It is currently available on PC, PS4/5, Switch, and XBX/S. This copy of the game was obtained via publisher and reviewed on PC. Approximately 9 hours was devoted to the game, and it was completed. There are no multiplayer modes.

Parents: This game has an ESRB rating of E for Fantasy Violence and Animated Blood. This is an action-adventure game in which players play as Astor, an android who goes on a quest to save his species from war with an evil faction of androids. Astor will get into sword combat with these evil androids, but these smaller fights have no blood and end in the enemies disappearing off the screen. A few of the boss fights have some animated blood in them, but it’s extremely few and far between. Outside of the combat, there is no violence in the game and it’s very tame in its themes.

Colorblind Modes: There are no colorblind options.

Deaf and Hard of Hearing Gamers: The game offers subtitles. Subtitles cannot be resized. There are no audio cues needed for successful gameplay. This game is fully accessible.

Remappable Controls: The game features 4 preset controller settings, but no remappable controls.

Footsie

HIGH I just love the title.

LOW The boss fights.

WTF Kicking an anthropomorphized brain in the testicles.

Anger Foot isn’t subtle… though with a title like that, I don’t think anyone should expect nuance.

A bizarre ménage à trois between Hotline Miami, Boogerman and John Wick, Anger Foot is a first-person kicker/shooter that blends improvisational gunplay, high flying footwork and scatological humor. While it may not reach the heights of its inspirations (except for Boogerman — it’s definitely better than Boogerman) when it’s firing on all cylinders it can be a hell of a good time.

Planning a night in with his significant other, the titular Anger Foot’s plans are interrupted as gangs break in and steal his prized sneaker collection, and one can easily surmise that this is no laughing matter. Soon enough, I am storming through the apartments, sewers and nightclubs of Shit City (yes, that’s really what it’s called) in pursuit of my wayward footwear.

Who needs doorknobs when an angry foot will get the job done just as well? In lieu of a traditional “use” button, I can mash the “E” key to kick down doors and send adversaries flying. Grabbing limited-ammo guns as I go, a typical scene might have me draining the clip of a nearby machine gun before whipping it across the room to stun a bat-wielding, humanoid crocodile. I can then pivot and send a kick to the gut of what appears to be Grover from the wrong side of Sesame Street. As he sails through the air, grab his falling pistol and headshot the still-reeling crocodile.

Things move fast in Shit City, and death comes easy. While no level takes more than five minutes to complete, Anger Foot proves to be as fragile as the opposition, and his rage can be permanently calmed with a bullet or two. As such, it was rare that I could clear a stage on my first attempt, but blessedly short load times allow for rapid iteration, and there was a satisfaction in finding my perfect line through each map, slowly but surely landing every kick, headshot and jump, anticipating enemy movements and dancing my way to the exit.

This repetitious try-and-die nature of this design is clearly intentional. Completing each level under certain conditions unlocks stars that can be redeemed for new foot gear such as a new pair of stilettos, sandals or galoshes, each of which grants new abilities — things like making enemies explode when kicked, or enabling a double jump. Some are more context-specific, like granting immunity to fire — especially handy as the enemies up their arsenal to include flamethrowers in later stages. My personal favorite was a pair of sneakers that would slow down time when I kicked in a door.

Given levels’ general linearity, there is a surprising amount of room for player expression between alternate paths and the spontaneity of combat. Choosing when and where to pick up a shotgun versus a pistol, and when to send the empty gun flying across the room to stun an enemy is just as meaningful as which shoes I pick at the beginning of each stage. It feels as though I’m carving my own path through each area rather than following a prescripted route and method.

There’s also variety in the level design — in the first half of the campaign, at least. Starting out, each of Anger Foot’s stages feels as though it has a unique concept. In one, a sniper is perched and taking shots from afar – unable to reach my assailant, I must be in constant motion to avoid their aim. In another, I’m leaping across pipes in a cavernous sewer fighting an army of tentacles. With enemies being stationary, there is a clockwork, rhythmic precision to my movements as I take shots before they even appear, anticipating their presence.

Unfortunately, while I can clearly remember many of the early sections, later stages begin to feel more indistinct thanks to generic hallways and fewer mechanical differentiators as the developers come to rely more and more on the volume of enemies. There’s certainly an adrenaline rush in taking down a room of thirty foes, but Anger Foot loses the sense of flow and tempo that characterizes its first half.

Furthermore, the multi-phase boss battles that conclude each area feel out of place and frustrating. These fights, with an emphasis on timing and waiting for precise moments to attack, lose much of the dynamism that highlights the rest of the experience.  The worst offender introduces a mandatory parry mechanic, requires memorization of attack patterns, and takes place in a restrictive arena over toxic sludge where one small misstep means restarting the fight from the beginning.  These more prescriptive encounters seem to forget the fluid, freeform combat that made the preceding stages so engaging.

As mentioned earlier, there’s obviously an element of humor to the proceedings, and it doesn’t take long to realize that Anger Foot doesn’t take itself terribly seriously. However, beyond the baseline absurdity of the premise, the developers might be trying a bit too hard to make players laugh. I’m no stranger to puerile humor, and I’d be lying if I said I didn’t crack a smile the first time I burst into a bathroom to find a surprised enemy, pixelated genitals and all. However, by the time I reached the end and had seen this same gag countless times, it began to lose its luster. Anger Foot is funny on a conceptual level, but the overt, repeated attempts at humor feel like selling past the close.

Anger Foot is at its best in motion. Falling into a hallway hypnosis of garish ’90s aesthetics and murderous footwork, I don’t have to think — I just react. It’s when I’m forced to slow down and hear a joke or fight a boss that requires pauses in the pace that I begin to notice the seams. While these moments aren’t dealbreakers, they’re unfortunate stumbles in an otherwise sure-footed experience.

Rating: 7.5 out of 10

— Ryan Nalley

Disclosures: This game is developed by Free Lives and published by Devolver Digital. It is currently available on PC. This copy of the game was obtained via publisher and reviewed on the PC.
Approximately 10 hours of play were devoted to the single-player mode, and the game
was completed. There are no multiplayer modes.

Parents: While this game has not been rated by the ESRB, it is certainly not intended for younger audiences. Anger Foot contains violence, blood, sexuality, nudity, vaping and crude humor. While this content is presented in a cartoony manner, it is pervasive.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles cannot be altered and/or resized. Most audio cues have on-screen indicators. However, there are some enemy barks that can give away an enemy’s position that are not represented visually. Therefore, this game is not fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls.

Killing Machine Boy Meets Vampire Princess Girl

HIGH A riveting supernatural story with a legendary legacy.

LOW What do you mean the other half is still in production?!

WTF The tonal shifts when encountering a bad ending and reading the cast commenting on your failures.

Frankly speaking, the mere thought of being able to draft a review of the official English-language international release of Tsukihime feels unreal. For nearly 24 years, it seemed like Type-Moon’s legendary visual novel would forever be Japan-exclusive, never to appear in English without the help of fan translations — but it’s here now, and all is well.

To be accurate, the subject of this review is not, strictly speaking, the Tsukihime that I first played a fan translation of in high school. Instead, I’m reviewing Tsukihime -A piece of blue glass moon-, a remake developed by Type-Moon and released in Japan in 2021. It features a fully rewritten story and new original art from Type-Moon co-founders Kinoko Nasu and Takashi Takeuchi.

Though the story has been rewritten, the core premise hasn’t changed. As before, the narrative is told almost entirely in the first person, experienced through the very special eyes of Shiki Tohno, a young high school student.

Shiki possesses the Mystic Eyes of Death Perception, causing him to see supernatural “lines” drawn all over everything around him. Cutting along those lines instantly kills almost anything… or anyone, unless Shiki wears a pair of special magical glasses that hide the lines from his sight. After years living in exile away from his aristocratic family, Shiki is called back to the massive Tohno mansion following the death of his father. A shockingly violent encounter with a mysterious, beautiful woman named Arcueid kicks off the story proper, drawing Shiki deeper into a mystical world that lies just beneath the surface of the urban ordinary. It’s a world where vampires war in the city streets under cover of night, all the while dodging monster hunters empowered by the church itself, and where seemingly anyone, from the family doctor to one’s own classmates, might be hiding some kind of supernatural secret.

Adventure stories with a horror twist aren’t new, but it’s notable that Tsukihime -A piece of blue glass moon- is also, at its core, a romance.

Alongside the vividly rendered passages describing magical battles and vampire hunts are meet-cutes straight out of a romantic comedy playbook. In these instances, the writing bubbles with a sweet puppy-love vibe, full of dramatic teenage infatuation rendered in flowery, heartfelt passages. Thanks to an top-class English-language localization, the mood of reckless teenage romance is perfectly captured. It’s even thanks to this localization that segments where Shiki essentially ogles his female conversation partners come across as cutely awkward, rather than creepy — immensely helpful considering the large number of pretty girls that interact with Shiki. That said, the story of Tsukihime does focus on two main narrative branches, each centered around a different heroine.

One of the biggest departures A piece of blue glass moon makes from the original Tsukihime is in the writing of the second branch, which focuses on Ciel, Shiki’s mature, reliable, enigmatic upperclassman.

The original game presented Ciel as an alternative romantic “route,” as is the custom for games in the genre, though the bulk of written material and development was clearly concentrated on Arcueid as the “main” heroine. The result was a Ciel route that felt like a variation of Arcueid’s — an alternative path included less as an equally valid option than a value-add for players seeking replayability.

By comparison, Ciel’s route in Tsukihime -A piece of blue glass moon– truly feels distinct, with its own plotting, cast of characters, and and exploration of a different side of Tsukihime‘s setting and lore. If Arcueid’s story route largely involves vampires and other supernatural kindred, Ciel’s dips heavily into the holy church, a vaguely Christian organization that defends human society against supernatural threats and violently suppresses the ones that come too close to revealing the magical world’s existence to mankind at large. In their way, the two main routes in Tsukihime‘s remake feel like genuinely equal options, fitting well with Type-Moon’s permissive attitude towards what counts as “canon” in its various properties.

With that in mind, players must read through Tsukihime -A piece of blue glass moon- multiple times to get the most out of the story. Thankfully, it includes plenty of tools to ease exploration. Players can save and load anytime, and a handy “flowchart” system not unlike the one seen in Vanillaware’s 13 Sentinels: Aegis Rim allows players to jump back and forth in the timeline, checking the results of choices at their leisure. The main routes and their endings are also unlocked sequentially, so there’s no danger of making the “wrong” choice and being forced to reload or wait until the next playthrough.

There are even more than a dozen different “bad endings” to acquire for completionist players. Bad endings are very much the “wrong choices,” usually in the sense that picking them results in Shiki’s death, described in gruesome, embarrassing detail. These are usually played for laughs, though, and invariably conclude with a post-credits classroom sequence where the characters discuss what just happened and advise the player on what choices to pick after they reload.

Outside of the occasional typo and an odd bug where a small amount of voiced Japanese-language lines aren’t properly subtitled in other languages, Tsukihime -A piece of blue glass moon- is larger in scale than the original, polished to a mirror sheen, and convenient almost to a fault. Its writing expands the story in an appealing way that’s conscious of Type-Moon’s status as a company at the top of its field managing its own multiverse of related stories and projects (such as the Fate/Grand Order mobile game and more besides). It doesn’t supplant the scrappy, rough-hewn, original Tsukihime, but rather compliments it, presenting the visual novel equivalent of a breathtakingly costly but inimitably entertaining triple-A blockbuster to contrast with the original’s history as an out-of-nowhere indie hit.

The only wrinkle in this otherwise perfect remake story is that A piece of blue glass moon is just the first entry of the Tsukihime remake project. The two routes contained in this release are just the “Near Side” routes. The original game’s three other “Far Side” routes — routes that were more psychodrama-focused and starred supporting characters like Akiha, Kohaku, and Hisui, are due to be included in another installment, Tsukihime -The other side of red garden-, which is still in production. This isn’t to say that the experience feels incomplete without the additional routes, but it’s an acknowledgement that those who want to know more about certain other characters and see how Type-Moon will address their respective stories may end up waiting a while for the second half of the remake project to release.

Nevertheless, as it is, Tsukihime -A piece of blue glass moon- remains a superlative visual novel, and a must-read for any fan of Type-Moon’s work, as well as a great potential entry point for those looking to get into visual novels as a medium.

Rating: 9 out of 10

Disclosures: This game is developed Type-Moon and published by Aniplex. It is currently available for the Switch and PS4. This review is based on a paid download and reviewed on Switch. A PS4 code provided by the publisher was tested. Approximately 47 hours of play were devoted to the single-player mode and acquiring all main endings. There is no multiplayer mode. The game was completed.

Parents: This game is rated M by the ESRB, with content descriptors for Blood and Gore, Intense Violence, Strong Language, and Suggestive Themes. The rating description is as follows: “This is a visual novel in which players follow the story of a high-school student who encounters vampires and ghouls in Japan. As players progress through the narrative, they view stylized story sequences (mostly still images), some depicting violence and blood: blood splatter; pools of blood; characters killed off camera; a character’s hand repeatedly stabbed. The text includes descriptive details of violent acts (e.g., “I stab, I cut, I slice, I carve. Severing piece after piece until nothing is left…”; “After listening to the weakling beg for its life, she begins her meticulous work…Once the other arm is gone too, she swaps her tools and sets work on its inside.”). Some sequences depict severed limbs and dismembered body parts in large pools of blood. A female vampire is depicted partially nude, with exposed pelvic area (no genitalia), and her arm covering her breasts. The words “f**k” and “sh*t” are heard in the game.”

Colorblind Modes: The game has no colorblind modes.

Deaf & Hard of Hearing Gamers: The gameplay is not reliant on audio cues. All voiced dialogue is represented by on-screen text. There are no options for text size or readability configuration, but detailed options exist to manage text display speed. This game is fully accessible.

Remappable Controls: This game’s button controls are not remappable.

A Solid RETURN To Form

HIGH That ‘aha!’ moment when the complex controls suddenly make sense.

LOW The crowds are so reminiscent of Xbox 360 graphics, I expected a red ring of death.

WTF John McEnroe sounds like he recorded after visiting a dispensary.

Despite some questionable market presence, there’s been no shortage of tennis titles for modern
consoles. That said, for die-hard enthusiasts of the sport, only one tennis series matters — Top Spin. Now, after a 13-year absence, the series has returned in the form of Top Spin 2K25.

Considering how long the series has been dormant, there was understandable enthusiasm for this
revival, but considerable pressure on 2K Sports to deliver on the hype and produce a truly “next-generation” tennis experience. For the most part, 2K25 is a welcome addition to any fan’s library
coming up just short of being essential.

Unlike most sports titles which want to overwhelm users with a litany of new modes, features, enhancements and eye candy, Top Spin 2K25 wants gamers to get right on the court. Within seconds of hitting the “A” button, I found myself in a fairly intense training regimen of baseline rallies, mid-court volleys, and some precision serving mechanics.

Despite voicework from a sleepwalking John McEnroe, the TopSpin Academy is a strong introduction to Top Spin’s refined control scheme and is essential for fans and newcomers alike since the series has always boasted unique mechanics that require some patience to learn and master.

At first, the controls seem overly complicated when compared to other titles. But when that “a-ha” moment clicks, there is a sense of fluidity and ease that transcends face buttons and analog sticks. At that point, the timing-based shots are powerful, intuitive, and more rewarding than the norm. Winners feel weighty and impactful, especially at the end of a long, well-played point.

One thing I’ve always admired about the Top Spin series is how it added depth and strategy, elevating tennis titles above “Prettier Pong.” Here, it adapts to a user’s strategy, letting them choose their preferred style. There is so much variety in gameplay, whether gamers choose to launch aggressive baseline shots, inject some serve-and-volley into the mix, or stay aggressive at the net through precision lobs, no match feels redundant. The physics of how different court surfaces affect shots only enhances the realism.

As mentioned above, the gameplay is largely excellent, if not perfect. Unfortunately, the AI is a bit suspect, varying from wonderful court knowledge to ridiculous shot selection in a matter of strokes. Likewise, as players work through the career mode, the AI jumps from fair to unbeatable in no time at all, leading to unwanted frustration.

Visually, Top Spin 2K25 is good from afar, meaning the stock (television-style) camera angle. However,close-up replays show some janky animations, poor facial renders, and some Xbox 360-quality crowds and NPCs. Maybe tennis doesn’t need to be the most visually arresting game in the library, but considering how long fans have waited, the graphics will need a lot of work if there’s a 2K26.

The audio is also a mixed bag. While on-court sounds, player grunts and the overall tennis atmosphere are true to life, the commentary would put golf announcers to sleep. The enthusiasm doesn’t rise during long rallies, nor do the repetitive phrases always match what happens on the court.As mentioned, tennis doesn’t lend itself to a slew of modes and features but Career Mode is a simple, no-frills addition that keeps gamers focused on earning upgrades and scoring upset victories in a wide range of tournaments. It might not be dynamic, or story-driven, but there is reward to be had from steady progress up the rankings.

A lot of Top Spin’s success is going to hinge on how fans like the multiplayer modes. The 2K Tour mode lets users challenge others using existing tennis stars, while the World Tour mode lets users take their created avatars and pit them against the world in a variety of weekly tournaments and challenges.Both modes are smooth and competitive, if not a little daunting for newcomers.

I found basic online multiplayer to be the biggest surprise, with a large, active community of tennis enthusiasts offering competitive play without pretense. I had no problem finding a quick exhibition match against friendly fans, with no lag, latency, or lobby concerns. This is a major win, and possibly my new preferred way to enjoy digital tennis.

Regardless of the drawbacks, fans should welcome Top Spin back into their lives thanks to the largely enjoyable 2K25. With some visual and audio enhancement, and maybe a slightly more accessible learning curve, this series could find a new generation of fans. Let’s just hope it doesn’t take another 13 years to do it.

Rating: 7 out of 10

Disclosures: This game is developed and published by 2K Sports. It is currently available on PC,PS4/5 and XBO/X/S. This copy of the game was obtained via publisher and reviewed on Xbox Series X. Approximately 10 hours of play were devoted to the single-player mode, and the game was not completed. Approximately 14 hours were devoted to multiplayer modes.

Parents: Top Spin 2K25 is rated E. This is a sports simulation game in which players compete in tennis matches. Players can engage in a variety of game modes (e.g., Career, Exhibition) to improve their skills and abilities. There is no questionable content.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: The game is fully accessible. There are adjustable settings for subtitles, and the game offers controller vibration during ball strikes. No audio cues are needed for successful play. The game is fully accessible.

Remappable Controls: The controls are not remappable.

Small, Swift, Smooth, Serene

HIGH Exquisitely designed and beautifully crafted. 

LOW Basic mobility is a little funky towards the beginning of the game. 

WTF Didn’t expect the baseball bat…

When Bō: Path of the Teal Lotus (Bō) first appeared on my radar, I rushed to request it. With my personal interest in Japanese folklore and visual art I was keen to jump right in, and I must say that I was not disappointed. 

Bō is an adventure that draws from Japanese folklore and legend. Players must navigate Bō — an adorable lotus-shaped creature called a Tentaihana — through different worlds, meeting and helping other spirits and creatures along the way. 

Bō is visually captivating, and exploring the worlds that Bō encounters is a treat. Bō’s landscape contains two and three dimensional elements, which Humble Games describes as 2.5D.

When playing, I felt as if I were gliding, jumping, and running through a painting. Every location is more beautiful than the last, but I was particularly enamored with the creepy, bruise-hued Kitsune Burrows. They provided a satisfying change in scenery in an otherwise pastel colored environment, and I found myself lingering there a bit longer than necessary just to look around. The crystalline Ice Caverns are also a favorite of mine, though the icicles are a bit tricky to maneuver. Everything looks so lush, and the accompanying musical score makes it feel all the more immersive.  

While exploring, players can equip Omamori, little tabs that help Bō in a myriad of ways, and each tab triggers an effect that becomes increasingly more complex as players collect more of them. Because Bō is very combat focused, I found the health centered Omamori tabs to be the most helpful. I almost always had Vitality equipped, which heals Bō’s health based on the amount of enemies they defeat.

Shrines serve as spaces where Bō can refill their teapot — an important tool that helps Bō regain their health. It can be used both in and out of battle, and can be accessed in a pinch (which players may find themselves in, more often than not). The teapot also helps Bō during combat and contains a heat gauge that works in tandem with Daruma dolls. Daruma dolls each have specific effects and attacks that can be used to help take down difficult enemies — as the heat gauge rises, the Daruma doll’s attacks increase in damage. I will almost always choose ranged battle if I can swing it, so the doll which shoots homing orbs at enemies near Bō became a necessary part of my arsenal.

Players can also update their weapons as they progress. Bō has an earring that doubles as a staff that players access early on, which eventually evolves into other items when needed. I was amused by the baseball bat, and while it did feel a bit out of place it made for a quirky game mechanic. While it’s mostly used as a weapon that allows players to parry and attack enemies, it’s also necessary when completing certain quests for the spirits Bō meets. In one such quest, Bō must collect Armapillos (armadillo like creatures) for a spirit named Shimeji, and the only possible way to corral them is to hit them with the bat. Hitting the Armapillos felt a little mean! (And punting them back and forth required more precision and dexterity than I thought necessary…)

It’s a good thing that Bō gives the player these options, as it’s actually quite challenging to play! While the side-scrolling adventure genre is an undeniable part of Bō’s DNA, the amount of items, buffs, and weapons players can access make it so that Bō fits just as comfortably within the soulslike genre. Boss attack mechanics aren’t extremely complex, but can be quite difficult to dodge or counter, which can lead to silly mistakes. One awkward or poorly-timed jump and players might find themselves having to restart a tedious battle from the very beginning. 

The first major boss battle, which takes place in the Uzumaki cave, was a bit of a pain for me. A lot of this had to do with the basic mobility control system, which ended up being my biggest gripe with Bō.

While the mechanics are simple in theory, players are often expected to push many buttons at once to perform a mechanic as straightforward as jumping. Jumping is a necessary part of gameplay and some of the Daruma dolls require that Bō be airborne to be effective in battle, so struggling to perform these actions might be a bit frustrating for some. I initially had the most trouble with a sequence of lanterns that Bō must hit in order to ascend towards their next location, but they must be hit perfectly. Otherwise, Bō will fall and the sequence must be started over. I quickly learned that patience was perhaps the most necessary tool for success in Bō, which is kind of lovely.

As Bō progresses their actions and attacks become a bit more effective, and when that initial roughness is left behind, the worlds that players encounter afterwards are so beautiful that any early game hiccups are forgotten. Bō: Path of the Teal Lotus is exceptional. With its visually stunning worlds and exciting battles, Bō has all the elements of an indie action classic. 

Rating: 8.5 out of 10

Disclosures: This game is developed by Squid Shock Studios and published by Humble Games. It is currently available on PS5, Switch, PC, XBO/S/X, and iOS. This copy of the game was obtained via publisher, and reviewed on PS5. Approximately 7 hours were devoted to the game, and it was not completed. There is no multiplayer mode. 

Parents: This game is rated E by the ESRB and contains Alcohol and Tobacco references, Mild Fantasy Violence, and Mild Language. There is no blood, and no gratuitous battle sequences. Gameplay mechanics may be a bit complex for really young players, but not completely inaccessible. 

Colorblind Modes: This game does not have colorblind modes, but it does have a high contrast filter. 

Deaf & Hard of Hearing Gamers: The game offers subtitles. Subtitles cannot be resized. I was pleased to see that there are many audio accessibility options. Players with dyslexia can change subtitle and game font, game speed can be modified, action cue icons can be added, controller vibration can be modified, camera shake can be adjusted, and players have the option of making themselves invincible, or provide themselves with an infinite supply of mana. Therefore, the game is fully accessible. 

Remappable Controls: Yes, the game’s controls are remappable. 

In this episode, Brad covers:

Grizzly Man
Dungeons of Hinterberg
Bomber Crew: USAF
Deathbound (demo)
Arranger
TimeMelters
Mudrunner: Expeditions
Flintlock

…And more!

You can also hear the show on iTunes and Spotify!

Please send feedback and mailbag questions to SoVideogamesPODCAST (at) gmail (dot) com, or post them in the comments section below. Thanks!

So Bad It’s Good?

HIGH The soundtrack is genuinely excellent.

LOW Poorly designed levels. 

WTF Commiting to the bit makes it a difficult game to review!

One of the strongest (and most surprising) games I’ve reviewed for GameCritics has been Hypnospace Outlaw, which was set in a parody version of 1999’s early internet. It resonated with me in a big way due to its setting, but the developers were also commenting on the toxicity of contemporary social media — which, if anything, has gotten worse since its release. When I saw there was a recent spinoff, I had to see what they’d do with it next.

Slayers X: Terminal Aftermath: Vengance of the Slayer is a ’90s style first-person shooter developed by Tendershoot and published by No More Robots.            

 In Slayers X, Zane, the incredibly obnoxious 15-year-old troll from Hypnospace Outlaw, is now a grown man in his mid-thirties. He’s decided to continue working on a half-done videogame he stopped making in his teen years, and “Slayers X” is that game. This game-within-a-game stars Zane, who is part of a superhero group called the Slayers. His fictional persona is seeking revenge for the murder of his mentor and mother by a rival group headed by Zane’s stepfather. 

This story hints at what one might expect from the mind of an obnoxious teenager, and in this respect, Slayer X commits to the bit. This thin plot is just a setup for a power fantasy that invokes Doom and Duke Nukem. The story is ridiculous and replete with awful one-liners where Zane mocks enemies by saying things like “I slept with your mom!” Complete with poor CG between levels, the overall quality of the experience is surely a series of deliberate choices by the developers to remain consistent with the premise.

Additionally, gameplay has a familiar smoothness and speed typical of shooters from that era, complete with exaggerated head bob. The shooting is exactly what one would expect, offering simple shooting in levels filled with enemies. The guns feel common, though the Glass Blaster shotgun packs a punch and is the exception, due to its ability to use broken windows as ammo refills.

However, Slayers X is also seemingly filtered through the prism of someone lacking in the talent department when it comes to game design. The areas lack flow — I often found myself lost among many seemingly pointless areas and diversions lacking tangible rewards for exploration, aside from some predictably poor and immature visual gags. This resulted in a stop-start feeling not helped by the prevalence of monster closets and waves of spawning enemies.

Speaking of enemies, they lack interesting designs and are repeated ad nauseam. When the difficulty needs to ramp up in the final levels, the classic design mistake is made — the enemy count skyrockets and stronger enemies become too plentiful.

To make matters worse, ammo was inconsistently and haphazardly placed. I sometimes found myself with an overabundance, but at other times — especially when it was needed the most — it was hard to come across.

Again, while this was not a pleasant experience per se, I want to reiterate the admiration I had for the developers’ commitment to their concept. It is through this authenticity that Slayer X shines — it’s not really a ‘bad’ FPS, but instead a character piece reflecting the mind of a juvenile edgelord and his views of the world. This meta-concept is where Slayer X finds its humor, in exposing his illusions of grandeur and not in Zane’s terrible zingers.

While the concept behind Slayers X might spark debate, there’s no argument around the soundtrack, where the parody band “Seepage” returns from Hypnospace Outlaws. Clearly inspired by late ’90s bands like Linkin Park, tastes may vary here (and I’m exposing my own nostalgia) but I genuinely found the songs not just pitch-perfect throwbacks, but enjoyable in their own right.

Considering its premise, it would be betraying the concept to make a ‘good’ game. It’s certainly interesting, but does that lead to an enjoyable experience? Well, it’s worth playing for those who enjoyed Hypnospace Outlaw and are interested in another snapshot from that period, and it’s brief enough so that it doesn’t outstay its welcome. However, people who aren’t Hypnospace fans or those who aren’t interested in the meta-concept would probably do well to look elsewhere if they’re craving a standard FPS fix.

Rating: 6 out of 10

Disclosures: This game is developed by Tendershoot and published by No More Robots. It is currently available on XBO, XBX/S, PS4/5, Switch and PC. This copy of the game was obtained via publisher and reviewed on the Switch. Approximately 3.5 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: According to the ESRB, this game is rated M and contains Intense Violence, Blood and Gore, Sexual Themes, Drug Reference, and Language. Whilst the graphics are deliberately primitive, the game is very violent with exploding limbs and lots of blood, although the prevalence of blood depends on whether the violence level is set to normal or extreme in the settings. There are references to suicide, drugs and crude humour such as sexual innuendo, for example, the player character saying he has slept with someone’s mom.

Colorblind Modes: There are no colorblind modes available. 

Deaf & Hard of Hearing Gamers:  This game offers subtitles. The subtitles cannot be altered and/or resized.  I found it to be quite playable without sound, however there were a couple of issues. Subtitles did not appear when Zach made comments about why doors were inaccessible (there are color coded locks.) A bigger issue is the lack of visual cues when enemies approach from the back and the sides, and I did not see visual cues detailing where damage was coming from. As a result it is not fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls.

Front(line) Mission

HIGH Good tools enrich the solid gameplay.

LOW The controls and interface are a bit clunky.

WTF Excuse me, just going to drive this Sherman through a building now…

Despite World War II ending nearly 80 years ago, gamers seem no less interested in the subject, and Headquarters: World War II allows them to relive legendary battles via an incredibly well-built strategy framework that captures the spirit of commanding troops in some of the conflict’s most pitched encounters.

Headquarters: World War II is a turn-based strategy game, where players’ troops start at a predetermined area of the map, and must capture objectives. Each side has access to a limited number of units, such as tanks, ground infantry, artillery groups, and more.

The main campaign features three factions for players to choose from — the United States, the United Kingdom, and Germany. Each of the campaigns features iconic and legendary battles, such as the Omaha Beach landing, Operation Good Wood, and Operation Tillich. Each features a difficulty selection, alongside a custom difficulty setting with adjustable sliders for accuracy and damage, both for the player and enemy.

Every unit’s ‘health’ consists not of hit points, but instead, how many men are left in a particular unit. As each unit is damaged (loses men) its combat effectiveness is diminished. For example, an infantry unit may not be as accurate when firing, or a tank may not be able to drive as far in a turn. Each troop is visually depicted on the battlefield and in the status screen of the unit.

Ally and enemy squads also have morale, which will cause teams to run away if depleted — helpful in herding retreating enemies to a position where a trap has been laid. In one skirmish, I was able to drive an enemy away from hard cover and into the open once they lost their nerve, at which point the rest of the unit was dispatched. Morale affects allied units too, though, so the player’s morale should be kept as high as possible. This really made me think about which units to send ahead, and which to have fall back.

When attacking, each combatant is subject to fire from the other side. Terrain, cover, and manpower determine how accurate each group will be. There are also some units impervious to specific types of fire. For example, an infantry squad is unable to destroy a tank under any circumstances, but I could use recon units to spot tanks so my artillerymen could blast them from afar — it never failed to make me feel accomplished in my strategy.

In addition to this, units also have unique abilities. Recon troops can spot enemies from farther away than others can. Transport trucks can move troops around without any action cost to the unit they’re moving, mobile artillery can deliver long-distance pain to faraway enemies, and so on.

There are also some special abilities that take a few turns to recharge after using them. The most helpful was the “reinforcement” command, which allowed one unit to completely replenish its troops, allowing them a chance to recover ranks (essentially healing the unit) every three turns. There are also spy planes which allowed me to see units I hadn’t spotted yet, as well as extra artillery and naval gunfire, which could soften or destroy targets, but had a longer cooldown.

These were all incredibly nice to have, as they provided me with some extra options that I didn’t normally have on hand, or had in short supply. These helpful resources made the playthrough more enjoyable, not because it gave me an unfair advantage, but because I had to be judicious with their usage.

There is also a player vs. AI skirmish mode, which allows players to set up a random battle on a predetermined map, or make their own. This adds replayability, as it offers a lot of control on the mechanics of this mode, so players who’ve beaten the campaigns can create their own battles.

The whole package is pretty extensive, and I had a great time going through each map, each with its own goals and objectives that tasked me to rescue allies or capturing convoy materials, for example. I was challenged with using all the tools given to me to attain victory, and I never felt like any of the missions were impossible. With a good understanding of the toolkit, there were no roadblocks to progress — every mistake was my own, and I made sure to learn from them.

While the majority of Headquarters: World War II is aces, one issue I had was with the UI – it gets very crowded with information at times!

While it was nice to have plenty of info, it made things a bit hard to read for me. It did become a little tricky to see units with how cluttered the screen was, and removing some elements (like completed objectives) would have freed up some of the real estate. Related, some elements were simply hard to see, not due to crowding, but because of the fonts and colors. Stats about my currently selected unit, the mini map, the available forces I had, and combat predictions were muddy and tough to parse as they were displayed on a brown background, with the text being only slightly brighter. Leaving the text white would have alleviated this issue.

Headquarters: World War II is an excellent game for WWII enthusiasts and strategy aficionados alike. It provides a great amount of tools for players to use on the battlefield, in addition to plenty of options to tailor the experience to their needs. Some UI and interface issues diminish the experience a bit, it will still provide many hours of enjoyable warfare for fans of the material.

Rating: 8 out of 10

Disclosures: This game is developed by Starni Games and published by Slitherine Ltd. It is currently available on PC. This copy of the game was obtained via publisher, and reviewed on PC. Approximately 6 hours was devoted to the game, and it was not completed. There is an online multiplayer mode for up to four players.

Parents: This game is not rated by the ESRB rating. This game is set in World War II, and allied and enemy units can be killed in a variety of ways, including gunfire, flamethrowers, artillery, and so on. However, the deaths are never gory or violent. Troops will simply collapse as they are dispatched, and machines and tanks will explode. There is some dated language and insults, such as use of the phrase “Kraut” when the German military is discussed by American troops.

Colorblind Modes: There are no colorblind options.

Deaf & Hard of Hearing Gamers: The game does offer subtitles, but cannot be resized. (See examples above and below.) All voiced dialogue is accompanied by subtitles. The text can be a tad difficult to read, and therefore this game is not accessible.

Remarkable Controls: No, this game’s controls are not remappable.