Other than the amusing boss battles, Nefarious is barely competent. Controlling bosses from various genres is a novel spin on the concept of the boss battle and if this was just a series of battles, like Cuphead, there could have been something worth playing here. Everything else, which is about 90% of the game, is just soul-crushing. It is the kind of title that feels like work, and continuing is just exhausting because of how poor the playbility is.
The brilliant moments are just not frequent enough to overlook the avalanche of issues that overwhelm the entire experience.
Janky, ugly and unpolished is the best way to describe The Solus Project. It had a noble idea of combining the walking sim narrative game with survival simulation stats, and on paper this is a concept that definitely has appeal. It is too bad that this was executed so badly, and it can all be attributed to failing to get the fundamentals of control and playability just right. The simple act of moving in standard mode is an agonizing slog, and god help the poor soul who tries to contend with incomprehensible VR controls. This is great for anyone who loves to torture themselves.
The cinematic platformer had a very simple formula to follow and it isn't hard to make an appealing game in this genre. There have been so many over the years and the recent influx of independent developers doing their take on the whole 'kid in a nightmarish world' sub genre, there are more options now than ever. This should be at the very bottom of that list of options as it feels more like a Chinese boot-leg than anything of artistic merit. Dull, buggy, unpolished and, most of all, Albert & Otto is criminally derivative - its best quality is that it is over in about 90 minutes.
Was it pure luck that Rockstar's The Warriors came out exceptional ,or is the era just cursed due to it also being the decade when the video game crash occurred? Best to just ignore LA Cops and hope that it turns in its badge.
DmC Devil May Cry: Definitive Edition even has a fair amount of content that is impressive and even pretty glitch-free, but when the core game is so poorly thought out, it's best to just skip this altogether. Best to wait for Devil May Cry 4: Special Edition for PS4/Xbox One later in the year.
Not being content with being one of the most soulless products released under the Warner Bros. label, it is also extremely underwhelming from a technical point of view. Gotham Knights was originally developed as a multi-gen title, but PlayStation 4 and Xbox One versions got cancelled. Despite this, the visuals underwhelm and fail to impress and manage to look worse than the last major Batman instalment released seven years prior. Capping at a mere 30fps might be excusable if this boasted the most cutting edge visuals on the market, but it manages to look cheap and dated. For a AAA production from Warner Bros., this should have been a visual tour de force, with top writing talent, and have evolved the gameplay to compete with its contemporaries. Maybe it can be salvaged over time with updates, but currently it's one of the most droll and sloppily designed triple-A products of 2022.
Somerville's greatest flaw is just how boring it is. It is more of a walking-sim than a platforming-adventure game. Reactive objects are also colour-coded yellow, so there is never any question about what to do. This robs any sense of discovery in a title that is already so tightly focused on pushing players forward. The terribly slow walking speed will pad out Somerville's length to around four to five hours, when there is maybe only two hours of actual substance. Traditionally, these kinds of games are short but make up for it with excellent pacing. Somerville feels like a flatline for most of the entire run.
Blair Witch is probably best played on other platforms, where the pop-in is not so atrocious, and where the game won't break. The atmosphere during the day time is diminished thanks to the low level detail that generates only a couple of meters away. These glaring flaws hurt Blair Witch from becoming immersive, and the obtuse path to the good ending won't be figured out without a guide. There is potential here, since the foundation is solid, but this version is not easily recommended.
Hell Warders won't even be remembered as the sloppy low-budget experiment that it is. It won't be remembered at all. It is much too rough to meet the standards of average gamers, and not weird enough to be interesting. It certainly is a huge hassle to play for more than four hours, but those first few moments before the balancing gets out of hand are actually enjoyable.
Take away all the disturbing and horrific imagery, and Tamashii becomes a run-of-the-mill, trial-by-error indie platformer. It will test one's patience and frustrate to no end, thanks to its design and structure. It is much too rigid to allow anyone to get immersed in, and the tedium of having to memorize a new level only fills the soul with regret. The horror flourishes are what save this otherwise subpar title.
The best parts of Corpse Party: Blood Drive is when the scenario demands only one playable character, isolated in a Twilight Zone Japanese meat-high-school. When these insufferable adolescents banter with each other, it clashes with any semblance of dread or horror.
Wolfenstein: Youngblood is hurting without B.J.. While he was sort of made out to be a tool in The New Colossus, his daughters are insufferable dude-bros who only want to kill - they just so happen to use Nazis as an excuse to justify their bloodlust. There are no more soulful internal monologues, instead these girls cause tons of collateral damage, and the game acts like its cute. The gameplay is so flawed on a fundamental level that it is beyond saving and all of it is for the sake of padding.
The quest in RemiLore: Lost Girl in the Lands of Lore is inconsequential, and the only reason why anyone would play this is to have a cute hack'n slash with the utter bare minimum of rogue elements. Bringing a friend along will help keep things interesting, but there is just not enough substance to keep most hooked. It is too easy, and one has to play very carelessly in order to feel the rush of walking that razor's edge that comes with the better rogue-likes.
Even the most hardcore Swery fans will be put off by how sloppy and tedious The Missing is. Much of the appeal of past Swery games was interacting with interesting and colourful personalities. The Missing has none, unless reading text messages counts, and even then the writing is the same movie-referencing material from past games from this director, and its interrupting of the flow of action. The Nintendo Switch has so many better options for puzzle-platformer adventure games - Limbo, Inside, Flashback or Another World, to name a few. The mediocrity of The Missing might have been a bit more tolerable if it weren't such a janky and busted mess. Swery is not the David Lynch of video games; at best he is Ed Wood or a dime store Suda Goichi.
Morphie's Law is not without its good points. The game does run pretty well and the cosmetic customisation options do offer enough flexibility to make a unique dummy. What is worse than having to endure matches of Morphie's Law, though, is how its balanced since having to buy anything with the in-game currency takes an absurd amount of time to accrue. Just stick to Splatoon 2 and its DLC.
The Way Remastered is another janky indie game with faux-retro pixel art that misses the point of pixel art. It looks and plays like it was made by amateurs or possibly by some cynical designers who ticked all their checkboxes on what generic indie games are. This is not the worst indie game made - far from it - but it is so bland and plain... so middle of the road and inoffensive, that it is devoid of soul. Many gamers will decry big name publishers of mass producing soulless AAA games en masse, but now the scene has got to a point where indie developers can pump out non-descript, generic sci-fi retro homage number 274 and dupe people into their scheme. At the very least, The Way is forgettable.
Gal*Gun 2 is a very shallow game that has a decent story underneath some braindead gameplay.
Remothered: Tormented Fathers is wasted potential. This is supposed to be the start of a trilogy, and hopefully the designers will learn from this mulligan and make something that has a bit more polish next time. Chris Darril's heart is in the right place, and he is proven to be a very capable game designer - the next effort just needs to be more carefully thought out and play-tested.
Anyone who enjoyed League of War: Mercenaries will likely appreciate League of War: VR Arena since they have the same DNA. The audience that enjoys the kind of VR experience that involves mostly sitting back and watching things happen will probably want this. Fans of the RTS genre won't find much to enjoy here, which is a shame because the idea of a deep VR strategy game with an overhead view is a fertile concept that is worth exploring. With so little involvement for the strategy and the chaotic nature of the wars, this is a very hard title to recommend. Like head-cheese, League of War: VR Arena is definitely an acquired taste.