Welcome to a land full of adventure and vicious foes. You play the role of two kings who must take back their lands from Lioner the Purrsecutor and Wolfen the Labrathor. A world where cats and dogs reign supreme and have battled for years over an ancient sword. Felingard the land of the cats and Lupus Empire, land of the dogs, lay full of riches and gear. Explore dungeons, collect top gear and magics.
honestly hadn't had so much fun playing a portable game in a long time. I was really surprised that the game runs so smooth on the Switch, I can't comment on the PC version since I don't actually own it. Normally with some games on the Switch you do notice some performance issues but with this game there were none. Of course, its not the game with the most advanced graphics in the world but that doesn't mean they can't be beautiful and beautiful they are.
You awake in a weird lab dressed in gowns and this is where you make your character. Face, hair color etc. You were the only survivor on a plane crash, after that, not much is revealed. The hospital is deserted except for the insane enemies. You'll have to fight your way through these guys. It took me more than a couple times to even get past the first part. No weapons in hand and no armor, you will rely on your fist.
I absolutely love the level design, specifically the backgrounds, they are breath-taking! (Keanu Reeves breath-taking). When I saw the backgrounds it really made me want to fly off the path and explore, I think if the developers made either an open world or a free roam style game they would make beautiful levels with amazing skyboxes.
So, Wargroove. It's a fantasy themed strategy RPG, built around commanding armies and claiming territory in a style more like RTSes than, say, Final Fantasy Tactics. It's a grid-based game with unit manufacturing, income, and objectives. Mechanically, how it works is pretty simple; You've got basically three kinds of buildings. Your stronghold, which if destroyed you lose the game; Unit-producing buildings; And villages, which produce money. At the start of a given match, you have a tiny little set of basics, just enough to start getting your first buildings locked down. Unlike the RTS comparison, here the buildings are all fixed, and you take a unit to them and capture them for your own use.
If Exodus is the future of the series then sign me up for more. If it's the future of single player games, then sign me up doubly-so since there's not a single scrap of online, micro-transaction, or live service bs in here. 4A have really done me proud with this one. Perhaps I'm easily pleased or I can ignore certain things - not many bugs came up and one graphical glitch happened on the Volga level which has since vanished after a patch. Apart from that, the game is fantastic, and I'm having a blast playing on the harder difficulty now to push myself and my skills even further. I love Metro's world, the design, the aesthetic, and the whole package in general - Exodus takes everything I love about it and amps it up to the next level for me.
In a recent interview with creative director of Roll 7 studios, John Ribbins, he describes a bit of his own personal experience as a lifelong skater. This is something that can be seen in every aspect of the OlliOlli bundle. Especially the central focus on pulling fun tricks, and doing so with perfect timing. It feels like an idea worn to perfection over decades of work. Ribbins actually describes having coded a functional version of OlliOlli at around age 13. The core concept being a fast, twitchy arcade game that felt "true to skating". This idea still shines brightly in today's version of the game, and is not done through the inclusion of things like Chad Muska with a boombox, or an un-lockable version of the new Vans 2019 catalogue. Roll 7 chose instead to "make a kickflip look like a kickflip". They chose to make a skating game that focuses on pitch-perfect timing and playing with our desire to cram just ONE more trick into our combo.
This is a great game. It has been out for a while now, but the fact that it came to Nintendo Switch is brilliant. I love the option to be able to take it on the road, anywhere around the house or on the TV. I'd have to say that playing it on the tv with my controller works best for me. King Art Games gives you this very warm feeling when playing their games, shock will also occur as well. You are setting things up, getting ready to advance to the next segment then bam! A twist. It's very satisfactory.
Sphinx is doing that action-platformer simple-puzzles thing of a lot of the games from this original era. He runs, jumps, swings a sword, gets a bunch of items, all that jazz. Meanwhile, the Mummy(of a young prince Tutankhamen, to be precise), being already dead, has this Wario Land style going on. He can face everything from electrocutuion to crushing, and endure all of it as it puts him into crazy specific states for more complicated puzzles. It's an interesting mix of setups, that keeps either one from overstaying its welcome too badly. Just when you tire of figuring out a complex puzzle for the Mummy, you get to switch back to Sphinx and do something more straightforward and punchy, and vice versa.
The focus on roguelike design, letting a relatively small amount of assets turn into a lot of game. The fact that there's no mid-game saves, because that sort of longer-term multiple-session play wasn't needed and would complicate the design. The little touches of things not quite refined, like how I can hear room tone in the relative handful of voice acting clips. Hell, the fact that the intro cut scene only plays the first time you play, with no way I found to start it up again. Or the hidden shield in the tutorial area, just tucked behind a rock without collision detection. If this is the work of newcomer devs, then it's a really interesting first piece. There's a lot of neat ideas here: I like the fact that a lot of the Berserker and Witch unlockables actually require some degree of success with the other class, thus forcing you to differentiate on playthroughs. It just...needs work, as a commercial product.