HIGH First character maker in a Sonic game? Sweet!

LOW The level design, story, and gameplay are shockingly underwhelming.

WTF Avatars can wear a hat that says “Gamer”.

Sonic Forces has many interesting gameplay ideas and a dynamic character creation feature in this visually stylish package, but is constantly held back by a lack of creative level design, a lack of polish in its controls, and a story that fails to engage.

Shockingly, Dr. Eggman has defeated and imprisoned Sonic with his new mysteriously masked jackal comrade, Infinite, who bends reality using the Phantom Ruby. Now, with Eggman’s tyranny throwing the world into an apocalyptic state, a resistance team of Sonic’s friends must rescue our hero and save the world, with help from a Classic Sonic from another dimension and a rookie soldier — the Custom Avatar.

While this seems like a more mature premise than Sonic usually offers, the storytelling jarringly flip-flops between upbeat and serious, with tone-killing one-liners making things even worse. This incoherence shows that the story doesn’t know how to make players feel about the characters and story.

Additionally, many potentially interesting and dramatic plot points feel underdeveloped, and Infinite, the new enemy, lacks character development and any interesting use of his powers – are they real or just an illusion? It seems like even the writers don’t know the answer. In terms of play, Sonic Forces combines mechanics from previous entries – Modern Sonic’s fast-paced 3D “boost formula” and Classic Sonic’s 2D side-scrolling with the addition of Sonic Mania’s Drop Dash.

All of these elements are easy to pick up, and it can be entertaining to speed through stages while destroying hordes of enemies. Unfortunately, it all feels too simplistic too soon, making the gameplay loop feel repetitive.

Offering some variety, the Custom Avatar character wields “wispons” — weapons containing the superpowered aliens from Sonic Colors, which have various special attacks and powers. Occasionally, the Custom Avatar even teams up with Sonic in tag team stages.

Creating a character is a cute novelty with hundreds of pieces of clothing to be unlocked and seven species options, each with their own benefits (the bird species has a double jump, and so forth). Each Wispon has its own strengths and weaknesses, as well. A favorite was gaining insane speed from the Drill Wispon after mashing the trigger button.

Unfortunately, no matter what character the player chooses, the controls feel noticeably stiff, the running buildup too quick, and the jump too floaty – it all feels rushed and lacks the momentum and fluidity that made the classic 2D games rewarding to master. The stages, while linear, have some interesting obstacles – things like platforms that zoom forward when landing on them. A few even have alternate pathways, encouraging replayability with different Wispons that can aid in saving time or rewarding players with
hidden Red Star Rings.

But yet, it’s another mixed bag!

Most levels are much too short and don’t space out obstacles well. Excessive automated sequences remove player control and agency, and the potential of 3D gameplay is undercut in favor of basic, blocky 2D sections. Despite having 30 main stages, the the experience feel short-lived and repetitive. A smaller number of longer, more developed stages with fully fleshed-out mechanics would be a vast improvement. Visually, Sonic Forces again lurches one way, and then the other. The graphics and art style blend both cartoony and realistic, and the slick animations are a feast for the eyes while embodying Sonic’s cool, fast, and stylish qualities.

On the other hand, the animation during cutscenes gives characters wooden expressions and static movement, which is off-putting and immediately disengaged me from any potential drama. There’s also been a decent effort made to convey the world’s apocalyptic state through its original levels, with giant Death Egg Robots tearing up the city in Sunset Heights and flames burning around Luminous Forest. I wish the whole adventure was as original as these bits though, instead of otherwise mostly reusing past levels to pander for nostalgia — if Green Hill Zone is absolutely required as a level, it could have at least been altered to fit with the rest of the world in turmoil.

Overall, Sonic Forces’ potential for interesting storytelling, gameplay and level design are undercut by a lack of length, depth, and polish. Younger or casual players may enjoy Forces’ simplicity, but die-hard Sonic fans are better off playing Sonic Generations or Mania instead.

Rating: 4.5 out of 10

— Thomas Greeney

Disclosures: This game is developed by Sonic Team and Hardlight Studios and published
by Sega. It is currently available on PS4, XBO, Switch and PC. This copy was purchased as a
paid download and reviewed on PC. Approximately 4 hours of play were
devoted to the single-player mode and the game was completed. An extra 3 hours were spent
on the side content, from a total of 7 hours of gameplay to review the title. There are no
multiplayer modes.

Parents: According to the ESRB, this game is rated E10+ and contains Fantasy Violence.
According to the site: Sonic Forces is an adventure platformer in which players help Sonic
and his friend defeat Dr. Eggman and his evil plans. As players speed through different
landscapes, they collect items (e.g., gold rings), avoid hazards, and use spin attacks to defeat
robotic foes and bosses. Players can also use a created character to fire grappling hooks and
other cartoony weapons (e.g., fire blasters, electric whip) to defeat enemies. During some boss encounters, players can perform close-up finishing blows that knock opponents out in dramatic fashion.

Colorblind Modes: There are no colorblind modes available.

Deaf and Hard of Hearing Gamers: Sonic Forces offers subtitles for cutscenes and
gameplay, and there are hints players can read. Text cannot be resized or altered. Other visual
elements will guide players through levels like button prompts and markers to indicate
enemies. This game is fully accessible.

Remappable Controls: Yes, Sonic Forces offers fully remappable controls.

The post Sonic Forces Review appeared first on Gamecritics.com.

HIGH The last monster is a doozy.

LOW Having to do a boss fight six times because of an AI glitch.

WTF Is that a wading pool full of dentures?

Despite what feelings they might have about a Little Nightmares they didn’t make, the developers at Tarsier should be proud that they created a franchise with vibes so iconic that it’s possible for another studio to make something that is so instantly recognizable as Little Nightmares.

For all of its flaws, no one can make the argument that Little Nightmares 3 doesn’t feel like Little Nightmares. It hits all of the important franchise beats – there are creepily adorable main characters, an oppressive, oversized world, and monstrous entities wholly focused on the heroes’ demise.

What it lacks, by comparison, is a sense that these elements meld together to form a whole — because right now, Little Nightmares 3 feels more like a series of levels than a coherent experience.

Set in a horrible dreamworld recognizable to anyone who’s played any of the others in the franchise, LN3 follows children on a journey through four distinct worlds — a necropolis, a dusty wasteland where birds are slaughtered, a disgusting candy factory and a Dark Carnival where the displays are as upsetting as the attendees. Finally things move to a final level that I won’t reveal, save to say that it is seemingly tied closely to the series’ oblique mythology.

Hopefully one of my major issues is clear based on the list of levels I just outlined – namely that LN3 has no coherent flow to its progression.

While individual levels might have a sense of rising action – players invariably meet that level’s threat about a quarter of the way through and then have to deal with three further encounters before vanquishing it or making good their escape – there’s never a sense that an overall tale is being told. Low, the lead character, has a map that he consults before using his powers to teleport to new areas, but what these areas have to do with one another, or the goal he’s attempting to eventually reach never become clear. At the end of the adventure, I was left with more questions than answers.

To its credit, on a moment-to-moment basis LN3 works well. The puzzles are cleverly designed and clearly laid out, and the AI is good enough so that if a player doesn’t have a live co-op partner, they should have no trouble completing the many two-person objectives. I played most of the campaign in single-player mode, and almost never found myself getting stuck because the computer partner was too slow or confused about what to do.

That said, LN3 really does play better when two live players are involved, and it’s delightful being able to speed things along by having two people working on puzzle elements simultaneously. As such, it makes the lack of single-screen co-op feel like an oversight. There are a few locations when two characters have to separate, but they’re few and far between, and the success of things like It Takes Two and Split Fiction have proven that split-screens work just fine. At least they aren’t forcing players to buy two copies – as long as the host has a copy of LN3, their co-op partner can simply download the demo and play with a Friend’s Pass.

In a large sense, I don’t have many complaints about Little Nightmares 3. Each new area is beautifully realized, the monsters are scary, and the skin-of-the-teeth escapes are as thrilling as one would hope. However, as I closed in on the end, I couldn’t help but feel that it all felt vaguely hollow. It’s definitely a Little Nightmares title, but it never feels like it has anything to say, or that it’s building to something profound. Even the ending was underwhelming, although given that it has to be compared to the sadistic gut punch in Little Nightmares 2, that was probably always going to be the case.

Little Nightmares 3 might be the least of the trilogy so far, but anyone who wants to have a new experience in its horribly bleak and oppressive world will still find this a great opportunity to do so — it just doesn’t come together as darkly perfect as it should.

Rating: 6.5 out of 10

Disclosures: This game is developed by Supermassive Games and published by Bandai Namco. It currently available on PC/PS5/XBS-X/SW. Copies of the game was obtained via publisher and reviewed on the PS5. Approximately 10 hours of play was devoted to the single-player mode. The game was completed. 2 hours were spent in Multiplayer modes.

Parents: This game was rated T by the ESRB, and it features Violence and Blood & Gore. This is a disturbing world full of violent imagery, but it’s presented in such a cartoony and grotesque way that I suspect even younger teens won’t find it excessive. Be prepared to be haunted by some of these creatures, though. That will happen.

Colorblind Modes: The game does contain colorblind modes.

Deaf & Hard of Hearing Gamers: I played almost the entire game without sound and encountered zero difficulties. All information is provided via text, which can be resized. The game is fully accessible.

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

The post Little Nightmares 3 Review appeared first on Gamecritics.com.

HIGH Playful environments and cute co-op puzzles.

LOW Clunky movement and not enough puzzle variation.

WTF How did two bricks make me tear up like this?

Hi everyone! Eugene Sax here with another review from GameCritics.com!

With so many games that focus on offering hardcore action and explosions, I find myself occasionally searching for something a little more laid back. LEGO Voyagers is absolutely in that camp, and my wife and I had a great time in its meticulously crafted world — this is a co-op–only experience that focuses more on exploration than adrenaline, and it’s great.

Two LEGO brick friends are on an island together, dreaming of space travel because they live so close to a rocket launch site. After watching a rocket crash-land near the island, players control this pair of single-bricks as they solve puzzles and salvage the abandoned spaceship parts. Platforming and puzzles combine together in completely LEGO-fied world that will lead players through canyons, factories, forests, and more. 

These little bricks will jump, roll, and attach to larger LEGO pieces while on the hunt for the crashed rocket parts. While most of the puzzles they’ll need to solve to earn these pieces are simple, they’re effective in how they integrate into each level, and how they utilize multiplayer functions into the challenges.

For example, one puzzle had me control some platforms, flipping them between horizontal and vertical, while my wife had to use another by leveraging momentum. In other parts of the adventure there are vehicles that transport LEGOs to complete a puzzle. Working together with a partner to drive a truck (one steering, the other controlling speed) made for an enjoyable comedy of errors, and was ultimately satisfying when we finally got the truck where it needed to go. 

While my wife and I absolutely had a good time with LEGO Voyagers, there’s no denying that it’s a bit on the shallow end since many of the puzzles amount to repeating the same challenges — finding blocks to make a bridge, to complete a road, and so on.

Some of the puzzles feel a little misjudged, as well. Some took too long, some were too awkward, and some were both. The vehicle puzzles I just mentioned, while amusing, ended up also being annoying due to how long some of the sequences went on.

There were also some puzzles that were difficult thanks to their execution. In the factory, for example, I controlled a crane magnet that could pick up specific LEGOs. My wife had to pick up the correct piece with her character, wait for the me to pick it up and put them on a different conveyor belt so she could grab more LEGOs, and then I had to pick them all up again to go to a third location. Controlling all of those pieces plus my wife felt awkward and took much longer than it should have.

Ultimately, Voyagers lands in a weird place for me as far as recommending it goes, and also with who I would recommend it for. The simplicity and repetition of the experience means it’s hard to recommend to older players who might be looking for a little more meat on the bone. On the other hand, it might not be right for a younger audience due to the execution issues with some of the puzzles. Despite landing in this mixed middle ground, I did have an enjoyable time with my wife, and we walked away with fond memories of it, so for me Lego Voyagers gets 6.5 stuck together bricks out of 10.

Rating: 6.5 out of 10

Disclosures: This game is developed by Light Brick Studio and published by Annapurna Interactive. It is currently available on PC, PS5, Xbox Series X|S. This copy of the game was obtained via publisher and reviewed on the PC. Approximately 3 hours of play were spent playing the game, and the game was completed. The game must be played completely in multiplayer.

Parents: According to the ESRB, this game is rated E. No specific disclosures here, just a couple of people roaming around as Lego bricks in a Lego world. Good for all ages!

Colorblind Modes: There are no colorblind modes.

Deaf & Hard of Hearing Gamers: There is no text in-game. Audio is not needed for gameplay. The game is fully accessible.

Controls: Controls are not remappable, and there is no control diagram. Players will move with the left stick, jump with A, attach and detach to blocks with X, and make noises with B (not required for gameplay completion).

The post LEGO Voyagers VIDEO Review appeared first on Gamecritics.com.

HIGH Atmospheric. Exceptional pixel art.

LOW Minimal story and half-baked mechanics.

WTF Cow + wolf = giant monster bone bear?

TRANSCRIPT:

Hi everyone! Eugene Sax here with another review from GameCritics.com.

A distress signal sounds. A small response group led by a fierce warrior named Naut heads out to a space station inhabited by thousands of people, only to find it quiet and desolate — but not empty. They quickly discover that the residents have been turned into terrible monsters. With survival as the only option, this small band must fight the horde to stay alive, while ultimately trying to find out what happened.

Katanaut is a 2D action roguelike where players take on the role of Naut, a warrior with a knack for swords and an exterminator of monstrous creatures. Players will infiltrate the overrun space station, pick up special abilities and power ups, and fight bosses to get to the truth of what’s happening. As players go through each level and defeat enemies, they’ll uncover new things to unlock for future runs, like new weapons, guns, abilities, and passive upgrades. 

During play, there’s a lot of emphasis on movement and flow while balancing slicing with swords and shooting enemies. For example, the player’s gun only has a limited number of bullets, and gaining more requires players to get in close with melee, so each encounter becomes a bloody dance of shooting enemies from afar before diving headfirst into the horde to get ammo back.

In addition, there’s a wealth of active abilities that can boost Naut’s combat abilities, like a ball of eldritch lightning, summoning a small group of allies, or things like shield generation or damaging enemies if players dodge-roll through them. There’s plenty of variety overall to make each run feel unique in how players will interact with the environment and the horde they’re fighting through.

In terms of atmosphere, there’s an eerie and tense energy that Katanaut nails. Every cut paints the walls of the station in blood, and the environments become more and more grotesque as players near the core. There also seems to be a hint of mental manipulation – is Naut wanting to eliminate the threat and save the world, or is he trying to learn more and harness this power for himself? Is he being manipulated by this unknown power, or will he be strong enough to resist? Only time will tell as players run through again and again.

While this all seems like a recipe for success and Katanaut does give a strong first impression, that feeling, unfortunately, fades quickly.

My biggest issue with the experience is that the roguelike elements are here, but they aren’t quite on target. For example, while there are plenty of varied and interesting abilities, the guns feel too similar and boring. Sure, the damage of a given weapon can go up or down, but none felt that interesting, or even that different from one another, making guns overall seem like an afterthought.

Main melee weapons suffer from this as well, although this might be more of a pacing issue. Katanaut offers six main weapons, but I have yet to unlock more than one additional weapon after all the time I’ve spent with it, and that includes fully completing a run.

Speaking of pacing issues, it’s not limited to the main weapon unlocks. Looking at the campaign’s structure as a whole, progression from run to run feels so incremental that the time investment doesn’t feel worth it. Increasing health by one point, increasing stamina by five points, increasing katana damage by 5% — it all feels tiny, grindy and unsatisfying, and it makes the ultimate goal of reaching the end feel like an impossible slog that will take much, much longer than I want to spend with it.

These are all significant downsides, and the story was equally unsatisfying. Does a roguelike need to have a grand, overarching narrative to be good? No. But does it need to at least have some core of a story to motivate me for why I should care about going through this space station? I think so.

I wish I could say that the payoff was worth it, but after finishing a run, I got to see the credits for the game and then opened up an enhanced difficulty — and that was it! None of the story questions were answered! What was the villain’s motivation? Why create the monsters? If I beat the boss, why do I need to go back and do the same run again, but harder? This made the “ending” fall completely flat for me, and after that narrative letdown, I didn’t feel a lot of motivation to continue.

Katanaut looks good and has potential, and honestly, it’s getting better by the day. The developer has been dropping frequent updates that offer additions and enhancements that weren’t there when I first started playing, and the push and pull of going between melee and ranged during the action feels on point. However, there’s a lot of competition in the roguelike genre right now, and in order to succeed, Katanaut‘s going to need better handling of its story and adjustments to the grindy nature of the meta-progression. As it stands today, it didn’t land with me and I haven’t stuck with it, but that could change in the future with a few more patches and upgrades.

For me, Katanaut gets 6.5 otherworldly abominations out of ten.

Rating: 6.5 out of 10

Disclosures: This game is developed and published by Voidmaw. It is currently available on PC. This copy of the game was obtained via publisher and reviewed on the PC. Approximately 8.5 hours of play were spent playing the game, and the game was completed. There are no multiplayer modes.

Parents: This game is not rated by the ESRB. Players will use all types of weapons (blades, guns, grenades, etc) to slice enemies to bloody pieces. Dead bodies and gore are shown in each level. There are a lot of otherworldly horrors comprised of fleshy tissue, blood, and teeth. While there is no salty language in the game, there’s plenty of disturbing imagery throughout.

Colorblind Modes: There are no colorblind modes.

Deaf & Hard of Hearing Gamers: There is text in-game, and the text is resizable. Audio is not needed for gameplay. The game is fully accessible.

Controls: Controls are fully remappable.

The post Katanaut VIDEO Review appeared first on Gamecritics.com.

HIGH It’s Tail Time.

LOW It’s Tail Time.

WTF It’s Tail Time.

When I asked to review the remastered Gex Trilogy, I knew it would be a massive undertaking, the likes of which no one has seen before — and it is not possible to overstate how sarcastic I am being here.

Debuting back in 1994, Gex is a ‘beloved’ character mascot that the big bosses at Crystal Dynamics and Square Enix wheeled out for four years despite owning the IP for nearly two decades overall, and neither studio doing much of anything with it in all that time. 

After playing through this trilogy, it’s not surprising why.

Gex is not a compelling character, and the titles where he is featured are equally uninteresting. It’s clear that he was meant to compete with the plethora of 3D platforming mascots that came out in the late ’90s, such as Spyro the Dragon and Crash Bandicoot. However, comparing Gex to the brighter stars of the time is like pitting a toddler against a bulldozer. 

Gex’s whole personality is that he’s an anthropomorphic gecko obsessed with television. It’s a shoddy connection at best, but his whole mission across the three games is that he must tackle various villains in the Media Dimension, where he gets sucked into a TV and plays through levels based on TV show tropes and genres.

This is also, for better or worse, where he gets his humor. Gex is not the typical naive protagonist, working to save his home world from an evil threat. Instead, he behaves like a friend of a friend that you don’t really hang out with.

He’s jaded. He makes half-jokes that never land about movie stars that are no longer on the silver screen. Perhaps the most annoying part of the entire character is that every other sentence is either “It’s Tail Time” or “That’s what I call getting some tail.” The tail ‘jokes’, if one could even call them that, never stopped. It was agonizing. Maybe it was funny at one point, but I don’t think that point exists in the present day.

For this review, I played through portions of the original Gex (1995) and Gex 3: Deep Cover Gecko (1999), and played through all of Gex: Enter the Gecko (1998).

The 1995 title is a fairly standard 2D platformer. The action, as is the level design and visuals. However, it’s difficult to focus on those when Gex’s story is devoid of purpose — his mission lacks a driving force to keep him going other than the fact that he’s just stuck in the Media Dimension.

It’s common with all the Gex games, but the main villain of all three titles, Rez, shows up at the beginning of each adventure, only to disappear until the very end. Therefore, none of the enemies seem connected with the overall plot, and are just there to be dealt with. There are TV remotes to collect in each level, but it never felt like I was progressing to an ending of any kind. 

The 3D platformers weren’t much better. Enter the Gecko (1998) was the title I spent the most time with, and it felt devoid of any life or spirit.

The same can be said for Gex 3: Deep Cover Gecko (1999). A part of the reason for this was the overall TV-theming — when a title like Gex chooses to use TV as the through-line between every world and also chooses to license no recognizable properties, it feels generic. I played through a bland, yet borderline racist ninja level. I played through a generic Jurassic Park-esque dinosaur level. Even the “Circuit” levels, which seemed like something straight out of Tron, were just not memorable. 

Story and bad character design aside, the 3D games are serviceable in terms of mechanics. The 3D platforming is solid, and the setpieces are interesting enough. Frankly, it’s remarkable that the Limited Run team could bring these games back from the ’90s and make them playable today in the 2020s. 

At the end of the day, I think the main lesson to take away from the Gex Trilogy is that just because a title has a serviceable design foundation and decent gameplay mechanics, it doesn’t mean that’s enough. If the experience relies on a mascot character to stand out from the pack and that character is annoying as all hell, it’s doomed from the start.

Out of all of the nearly-forgotten games to bring forward into the 2020s, I’m not sure why Limited Run chose Gex — it’s such an absurdist concept that I have to laugh at it now, but while playing Gex in the moment, I despised it. 

Rating: 3 out of 10

Disclosures: This game is developed by Crystal Dynamics and published by Limited Run Games. It is currently available on PC. This copy of the game was obtained via publisher and was reviewed on PC. Approximately 11 hours of play were devoted to the single-player mode, and the game was not completed. There are no multiplayer modes.

Parents: This game is rated T by the ESRB for Blood, Crude Humor, Fantasy Violence, Mild Language and Sexual Themes. Gex will make crude, sometimes sexual jokes like “Don’t drink the punch at Jerry Garcia’s,” and “I’m lost in Dick Dale’s colon.” The extent of the crude language is a statement like “Damn this pesky gravity to hell!” when Gex falls into a pit. The combat is fairly cartoony but there are a few sections with animated blood such as in the ninja levels.

Colorblind Modes: There are no colorblind modes available.

Dear & Hard of Hearing Gamers: There are no subtitles for dialogue. This game is not accessible.

Remappable Controls: The game’s controls are fully remappable.

The post Gex Trilogy Review appeared first on Gamecritics.com.

HIGH Appealing art.

LOW The lifestyle elements feel half-baked.

WTF One weapon is an… electric guitar?

A world was on the brink of destruction, with climate change, pollution, and war the prime suspects for this horrid situation. A small group of robots saved the planet and led it into a utopia, but after the leader of the group becomes a tyrant, he goes to war with his former disciples.

Lynked: Banner of the Spark takes place only a few years after this conflict starts.

After a relatively grim dark opening, Lynked moves into a tonally lighthearted setting. Robots have taken over the world, sure, but the player’s human character meets a friendly bot known as Buddy who helps them escape their prison cell and abscond to a haven for themselves and their future robot friends.

Narratively, it doesn’t have much to say past this opening. The story is about the player character and their buddy robot as they take down the former members of the now-evil Banner of the Spark.

As for the mechanics, Lynked: Banner of the Spark has two gameplay sections — the campaign is split between a life sim and roguelite action.

The life sim gameplay is akin to many other ‘cozy’ titles like Animal Crossing or Terraria. The player is given a large, open sandbox to craft things, set up shops, and mine resources. As the player progresses, they’ll unlock more shopkeepers, villagers, building materials and tools. The overworld is fittingly barren at first, giving players several locales around the map to use for their construction projects. Unfortunately, these lifestyle aspects of Lynked seem slightly half-baked.

While Lynked has elements in common with other ‘cozy’ titles, many of them offer mechanics that ultimately deliver a more rewarding gameplay loop. For example, in Lynked, everything is almost instant. There are no time-based objectives, and no moment where I had to make a choice between two activities such as doing combat or selling my turnips for the best price that week. Instead, Lynked lets the player do everything at their own pace, in their own way without any stress or problem. While this might work for some, it struck me as not being brave enough to offer any friction or to make me be patient. In my view, I say let lifestyle aspects reflect real life.

The action gameplay is divided into missions that take the form of level-based dungeons that require the player to teleport in and fight bad-bots in small rooms. These realtime, third-person battles are usually quick, first offering minor enemies that lead into more combat encounters that culminate in a boss encounter or rescuing a new robot friend.

The missions are, like the lifestyle gameplay, a bit underdone.

The gameplay in Lynked is attempting to evoke high-octane action, swift movement, and large amounts of weapons to use on each run. Unfortunately, while there are many different weapons to choose from, most of them — such as the great hammer or the electric guitar –aren’t interesting or practical for single players. Instead, they come across as being designed for combo-ing them with friends that can join in on missions via online co-op.

Co-op functions were not available for testing during the review period, however the game supports three-player co-op during the campaign. It is very similar to the co-op functionality of games like Monster Hunter.

All of these issues are on top of middling production values — a soundtrack that doesn’t have any infectious tunes, nor graphics that are anything above average. There are also performance issues even on low settings, with animation stuttering and freezing at or in-between load times.

Lynked: Banner of the Spark feels like a game that wants to combine several elements into one dynamic package, but the attempts at high-speed action trip themselves up before they can even get started, and the lifestyle sim sections are sleep inducing.

Rating: 6 out of 10

— Jahwon Corbett

Buy Lynked: Banner of the Spark –PC – XB – PS

Disclosures: This game is developed by Fuzzy Bot and published by Dreamhaven. It is currently available on XBX/S,PS5, and PC This copy of the game was obtained via Publisher and reviewed on PC. Approximately 20 hours of play were devoted to the single-player mode, and the game was not completed. 0 hours of play were spent in multiplayer modes

Parents: According to the ESRB, this game is rated E10+ for Fantasy Violence, Users Interact and Language. This is an action game in which players assume the role of a human survivor battling evil robots. From a ¾-overhead perspective, players construct buildings, harvest materials, interact with characters, and battle robot in melee-style combat. Players use swords, blasters, spears, and robot allies to attack enemies. Combat is highlighted by impact sounds, colorful light effects, and small explosions. The word “bastards” appears in the game.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: The game has no voice acting, only subtitles. There are no significant audio cues needed for play. This game is fully accessible.

Remappable Controls: Yes, this game offers fully remappable controls. Lynked Banner of the Spark features customizable controller mapping. Similar to other action games of its type, the left stick is used to move around the world, while the right stick is mostly used for small camera movements. Each button has an assigned action, such as the face buttons being used for attacking, dodge rolling, or using the in-game grappling hook. Shoulder buttons are used to swap between menu items, meanwhile the start and select buttons allow for engaging for an in-game menu and out-of-game menu.

The post Lynked: Banner Of The Spark Review appeared first on Gamecritics.com.

HIGH Playing Tag.

LOW The general lack of content.

WTF Anyone that can play the first-person mode without getting sick is made of sterner stuff than I.

Rooftops & Alleys is an uncommonly focused experience.  As a third-person platformer centered around parkour, players will sprint and trick their way through obstacle-riddled urban environments to improve their free-running skills. There is zero fluff in Rooftops & Alleys, and every one of its elements works towards reinforcing the core sensation of rapid, smooth traversal.

Without any traditional narrative, movement itself becomes the motivation.  Flipping, leaping, and rolling across those titular Rooftops & Alleys is far from an intuitive act, and I was several hours in before feeling comfortable with the controls.  Actions like jumping and sliding — so simple in other titles — take on a level of finesse in Rooftops & Alleys that is at once rewarding and frustrating.

Many of the buttons serve multiple functions — the X button, for example, is used for jumping, mantling, and performing tricks, all depending on how, when, and in what order it’s pressed.  The distinction between these acts often comes down to a split-second difference in timing, and my early hours were spent flat on my face as often as not.

In all fairness, these missteps often came down to my own lack of digital dexterity, and as I became more accustomed to the complex inputs I began sailing through challenges I’d previously thought insurmountable.  Learning to smoothly transition from a stories-high leap of faith into a shock absorbing roll, then springing off a stack of pallets is a fluid and satisfying process.  These moments are hard-won, and though I wasn’t ready to shoulder responsibility for every trip and slip, the lithely-animated slides and wallruns served as catharsis for any pent frustrations.

This dogmatic adherence to the core concept in Rooftops & Alleys is compelling… yet it also works to its detriment.  With such nuanced and demanding play, it is doubly important for the underlying structure to support and motivate the player towards greater heights, and in this regard Rooftops & Alleys is unsuccessful.

The majority of the content is comprised of Time Trials and Trick Challenges.  While these straightforward objectives provide a solid instructional foundation for the mechanics, they are too limited in scope to keep pace with the sophisticated play. I enjoyed running the same courses over to shave precious seconds off in hopes of getting top marks, but these obstacles began to feel repetitive long before I had mastered the core concepts.

Furthermore, the stage design is almost entirely functional, with many levels lacking strong visual identity.  The Steel Yard and Construction Site are almost indiscernible thanks to a mixture of grey concrete and rusty girders. The container ship choked with stacked shipping crates offers endless combo opportunities, but feels compiled of assets and textures I’ve seen many times before.  The sunny streets and colorful stucco of Sunset Paradise is a welcome reprieve, but this is the exception.

While the solo content feels uninspired, Rooftops & Alleys nearly reaches its potential in its multiplayer modes.  There is a liberating Freeplay mode where players can practice together in the same space, but the real standout is Tag mode. Playing like a far more dexterous version of the playground pastime, one player is designated as “It” and must chase the others down.  The frantic pace of this mode snaps Rooftops & Alleys’ strengths into focus. 

The generic aesthetic of the stages fades as the impeccable lines and flow of the wireframe design takes over — a seemingly arbitrarily placed box becomes a springboard to outpace an opponent, inconspicuous ledges become critical footholds to outpace a pursuer.  Without the structured solo objectives, I had to rely more on instinct and skill to succeed — and though I was often in last place, these moments were by far Rooftops & Alleys’ most thrilling.  With that said, it should be mentioned that I had some technical difficulty connecting (and staying connected) to online matches, though I imagine this will improve with future patches.

Rooftops & Alleys, in part, is victim to its own ambition.  With its extraordinary mechanical strength, the majority of the content simply doesn’t measure up and found myself tiring of the experience prematurely due to a lack of variety and aesthetic interest. While this was leavened by the online modes, I still came away wishing for a more robust foundation to support its staggering mechanical heights.

Rating: 6.5 out of 10

Buy Rooftops & Alleys – PC – PS5 – Xbox – Switch

Disclosures: This game is developed by ML Media and published by Shine Research. It is currently available on Switch, XBX/S, PS5, and PC.  This copy of the game was obtained via publisher and reviewed on the PS5.  Approximately 13 hours of play were devoted to the single-player mode, and the game was completed. 4 hours of play were spent in multiplayer modes.

Parents: According to the ESRB, this game is rated E. There is very little in this game that could be considered objectionable. Play consists entirely of running through environments while performing tricks and stunts, there is no violence or profanity. When falling, the player’s character will tumble about like a ragdoll, and this can lead to some gnarly looking wipeouts.  There is no blood, and these falls aren’t terribly lifelike.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: There is no spoken dialogue in this game, and all information is presented in text.  This text cannot be resized. I played a good portion of my time without sound and experienced no issues.  There are no audio cues that I noticed, and all on-screen visual indicators clearly stand out. This game is fully accessible.

Remappable Controls: No, this game’s controls are not remappable. Beyond the controls listed in the screenshots below, tricks can be performed with different combinations of the face buttons (X, Square, Triangle, Circle) and directions on the left control stick.

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HIGH Unique creatures to transform into!

LOW The backtracking feels like it only exists to pad the playtime.

WTF A Dark Souls-esque currency-dropped-on-death system that can be turned off anyway.

For years, the so-called metroidvania subgenre has been a favorite for many indie developers. Biomorph is Lucid Dream Studio’s crack at the classic formula, and they deliver a satisfying and modern experience that many fans will appreciate.

The adventure begins with an animated cutscene, whose art style (along with the art direction for the humanoid characters) is reminiscent of 2012’s Dust: An Elysian Tail. Characters offer an interesting blend of animal characteristics without necessarily drawing to mind any specific animals — instead of a generic cat girl, a character may have cat-like ears but a reptilian face, or wing-like arms.

The monster designs are where the team’s creativity shines, as they manage to be unique and monstrous — even disturbing — while still fitting into the more ‘cartoony’ world, which is especially important as one of the main character’s signature powers is transforming into enemies they have defeated. After besting enough of an enemy type, that type can be morphed into at any time, each coming with their own movesets and movement options to solve puzzles or offer advantages in combat. One monster let me hover past spike pits that would otherwise kill me; a majestic elk-looking monster offered little in terms of traversal options but did have great kill power.

The base character has a variety of attack and action options, thanks to a system of ‘chips’ which can be swapped out and upgraded. One chip offers standard directional melee punches, while another may offer ranged options, or a shield that can block an enemy’s attack.

Movement is basic and somewhat limited. Jump height can be adjusted by how long the button is held, and there’s a short ‘slide’ the player can perform to get through tight spaces or dodge high-aiming attacks. Platforming can be somewhat dull due to these limited options, although some enemy forms offer other options to navigate certain rooms, and I would say this is fairly standard for the subgenre.

Exploration in Biomorph is fairly standard for metroidvanias, with backtracking encouraged when new powers are gained, and a map that’s easily readable and allows for the placing of various pins to notate areas that need to be revisited. There main and side quests that are generally marked on the map and are rarely if ever confusing to follow.

However, there are occasions where back-and-forth travel required by missions serves no purpose other than wasting time. For example, several missions required meeting a character in the main town after finding them elsewhere in the world. Then that character makes the player walk across town to ‘submit a form’ so they can establish a business, and then they return to the same spot. Why not just have the character set up shop as soon as they return to town?

It’s worth noting that by default, Biomorph has a souls-esque system of making the character drop all currency when they get killed, before immediately auto-saving. However, if the currency is lost in a boss room, the pile will spawn outside, which is great. With that said, there’s an option in the menu to simply turn this soulslike mechanic off entirely, which was a good move as it felt tacked on as a nod to FromSoftware, rather than a thoughtful inclusion to their own work.

In terms of bosses, Biomorph‘s are scattered throughout the world, and they offer a different experience from the usual platforming and basic puzzle-solving. These bosses are, for the most part, not particularly difficult and tend to devolve into jumping around until they offer an opening to get some hits in. Simply rinse and repeat until they explode into a gory mess. They serve their purpose but ultimately weren’t memorable.

Ultimately, Biomorph is a serviceable addition to the metroidvania subgenre that I think most fans of the content will enjoy thanks to the appealing look of its graphics and the novelty of the main character’s ability to transform. It might not break much new ground, but a solid experience doesn’t necessarily have to.

Rating: 6 out of 10

Buy Biomorph – PC– PS – XB – SW

Disclosures: This game was developed and published by Lucid Dreams Studio. It is currently available on Switch, PS5, XBO/X/S, and PC. This copy of the game was obtained via publisher and reviewed on the Switch OLED. Approximately 12 hours were devoted to the game, and it was not completed. This is a single-player-only title.

Parents: This game has received a T rating from the ESRB and contains Blood and Violence. While none of the characters players fight are human, monsters do explode in messes of gore and viscera when defeated. Fighting these monsters is frequent and encouraged via gameplay.

Colorblind modes: There are no colorblind modes.

Deaf & Hard of Hearing Gamers: All dialogue is written and no gameplay segments encountered required sound cues. This game is fully accessible.

Controls: The controls are fully remappable.

The post Biomorph Review appeared first on Gamecritics.com.

HIGH Satisfying combat and addictive metroidvania mechanics.

LOW Short runtime and lack of truly fresh ideas.

WTF The fairy queen’s sprite is basically Dark Souls’ Gwynevere…

As the fifth installment in a series I’ve never tried before, Momodora: Moonlit Farewell was revealed to be a competent 2D metroidvania set in a dark fantasy world brimming with themes like sacrifice and maternity, all presented via a captivating art style.

As a priestess of the order in charge of protecting a village from evil forces lurking both below and above,  Momo Reinol is one of the few beings capable of stopping the approaching darkness in its tracks.

Armed with a magical leaf whose reach and damage potential extend at the final stage of its three-hit combo, she embarks on a journey across several biomes to collect items and parlay with deity-like beings to secure mankind’s (or at least, the village’s) survival. Moonlit Farewell’s art direction fits the setting with a carefully chosen color palette and memorable enemy designs. It all fits together beautifully.

Another of Moonlit Farewell’s most notable strong points is how approachable it is, especially for genre newcomers.

While most metroidvanias are keen on keeping the player stuck until that “a-ha!” moment finally presents itself and allows us to unlock the rest of the content, here the map clearly tells us which parts we have yet to explore and exactly which areas still hide a secret. Thus, as we slowly navigate through combat and platforming challenges, we can quickly consult with the map to ensure we haven’t missed anything along the way. The breadcrumb trail of power-ups evolves organically and logically, arming the player with just enough power to never let Momo’s fighting prowess come up short.

So, as is the case with most metrodivanias, gameplay consists of three segments — combat challenges against enemies with deadly melee attacks, molotov cocktail-throwing smarties, and disturbing entities that explode on death, platforming sections where we’ll have to manage our stamina bar, the longevity of our jumps, and the use of other abilities later unlocked, and screen-filling boss encounters, which round up the campaign’s “acts” and often bestow Momo with a new power upon defeat.

Aside from those core elements, Moonlit Farewell is brimming with hidden power-ups that, if successfully unearthed, will expand Momo’s health and mana pools, as well as the stamina recovery which allows her to sprint and dodge.

Despite all the power-ups and items to find, difficulty isn’t the point of Momodora: Moonlit Farewell — there aren’t any wild spikes or overpowered bosses hell-bent on punishing even the slightest mistake. Instead, the power-ups seem more about granting benefits that synergize with each other, and selecting the right array for a given challenge.

For instance, by donning an ability that granted a barrier upon healing myself, I was able to more confidently charge in by synergizing with powers that boost melee damage. In another instance, I combined the “exploding arrows” ability with one that allows Momo to fire three projectiles at once, and suddenly turned into Legolas, feeling pretty good about myself!

Of course, the most powerful abilities are hidden behind demanding obstacles, but hunting for them isn’t necessary to roll credits. Everything Moonlit Farewell throws at the player is well-balanced and solvable simply by using observation, rationale, and the abilities one will naturally come across on the critical path. 

As such, the only real complaint I want to raise is Moonlit Farewell’s lack of innovation. While it offers a nicely curated experience, it never tries to challenge or alter established genre boundaries in any way — there are no big surprises, nor any or game-changing abilities that might’ve enticed other developers to copy from Momodora: Moonlit Farewell in the future.

Ultimately, Moonlit Farewell is a game that excels at what it sets out to do, though it doesn’t try to achieve anything too surprising or outside the norm. Even so, it kept me glued to my console from start to finish, and no fan of this genre will find much fault with it.

Rating: 8 out of 10

Buy Momodora: Moonlit Farewell – PC – PS – XB – SW

Disclosures: This game was developed by Bombservice and published by Playism. It is currently available on Switch, PS5, XBX/S, and PC. This copy of the game was obtained via publisher and reviewed on the Switch Lite. Approximately 18 hours of play were devoted to the game, and it was completed 100%. This is a single-player-only title.

Parents: This game has received a “T” (“Teen”) rating by ESRB and contains Blood, Fantasy Violence, and Suggestive Themes. The official rating summary reads: This is a platformer game in which players assume the role of a priestess embarking on a divine mission. From a side-scrolling perspective, players traverse environments, interact with characters, and battle human bandits and demons. Players use magic and arrows to defeat enemies in melee-style combat. Battles are highlighted by impact sounds, colorful light effects, and small blood-splatter effects. Some environments contain bloodstains on the ground/walls. One female fantasy creature is designed with exposed breasts, though with no discernible details (i.e., no nipples); another character is depicted in a revealing outfit (e.g., deep cleavage).

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers:  All dialogue in this game is shown via textboxes, so they’re easy to keep track of at all times. Text cannot be altered or resized. All enemy attacks are clearly telegraphed on-screen with enemies signaling when they will strike next and in which general direction. No audio cues are needed for play. This game is fully accessible.

Remappable Controls: This game offers a controller diagram and players can freely remap any action to any button. 

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HIGH The blunderbuss!

LOW The second act.

WTF Who knew a 17^th century shotgun could be such a versatile tool?

I came to Sacre Bleu with little foreknowledge of musketeers.  Having now spent several swashbuckling hours beneath one of their plumed hats, I can safely say I have overlooked the deadliest fighting force in human history.  From standard swords and pistols to the more esoteric blunderbuss that doubles as a rocket propulsion system, the destructive capacity of these frisky Frenchmen cannot be overstated.  Dubious historical accuracy aside, Sacre Bleu is an excellent demonstration of the alchemical potential between flexible mechanics and (mostly) tight design.

Ostensibly a 2D action-platformer, Sacre Bleu tasks players with battling through castles, kitchens and sewers to escape the clutches of a corrupt Cardinal and his army of mercenaries.  However, the cartoony, side-scrolling trappings hide Sacre Bleu’s more tactical nature. 

Due in large part to its heavy reliance on slow motion, combat in Sacre Bleu has a unique flow.  Any time players aim one of their weapons, the action slows down, allowing ample time to plan an assault.  Building on this foundation is the blunderbuss.  Though counterintuitive, this rifle does not deal direct damage.  Instead, firing blasts of air that can launch the player skyward and move objects, this weapon becomes a tool to set up elaborate attacks with the more bespoke weapons, such as the pistol and grenades.

There is a staccato rhythm to these fights.  Snapping in and out of slow motion, bursts from the blunderbuss propel the musketeer across the battlefield lining up headshots, deflecting arrows and lobbing grenades along the way.  Measured consideration and chaotic heroism form an exhilarating union as moments of careful planning are punctuated by explosions and corpses.

Sacre Bleu reinforces this cadence in its platforming.  Many of the stages are made up of spike-filled mazes requiring quick, mid-air turns, and it is here that the blunderbuss truly takes center stage.  Whether it’s launching me up to hard-to-reach ledges, providing a quick boost to outrun spinning blades, or simply knocking obstacles out of the way, I felt as though I was constantly finding new uses for it.  With up to three bursts before touching down, freezing time mid-air to adjust the musketeer’s trajectory is a breeze.  While intimidating in appearance, even the most complex sequences rely more on keen observation and planning than pinpoint precision.

Unfortunately, these stellar mechanics are let down by Sacre Bleu’s inconsistent camera. The perspective was often either too close or too far away. It just never seemed to be where I wanted, and I found it difficult to track my character during some of the trickier platforming segments. There were also times when my character outpaced the camera, and I’d sprint headlong into a wall of spikes I couldn’t yet see.

Compounding these issues is Sacre Bleu’s underbaked middle third.  With a greater emphasis on puzzles, many of these sections require the player to stand in specific spots while using the blunderbuss to manipulate the environment.  While a nice change of pace, these segments can be overly fiddly.  Though not a deal breaker, knowing exactly what I needed to do, but being unable to execute because my character isn’t in quite the right spot is never a great feeling.

Ultimately, what I admire most about Sacre Bleu is its focus.  The developers came up with a novel core mechanic in the blunderbuss and explored its full potential.  While not every element is executed to perfection, there is nothing wasted, and Sacre Bleu never overstays its welcome.  With a little tighter fit and finish, Sacre Bleu would be unimpeachable, instead it will have to settle for just being pretty darned good.

Rating: 7.5 out of 10

Buy Sacre Bleu – PC – Switch

Disclosures: This game is developed by Hildring Studio Inc and published by Noodlecake Studios.It is currently available on PC and Switch. This copy of the game was obtained via publisher and reviewed on the Switch. Approximately 6 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 T and contains Blood, Crude Humor, and Violence.  While this game contains pervasive violence, it’s presented in cartoony, unrealistic fashion.  Additionally, the camera is generally pulled far enough back that the action appears small on the screen. Enemies can be killed with pistols, swords, grenades and arrows. There is a small amount of blood occasionally, and enemies cry out when killed. There is no profanity.

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. There is no recorded dialogue in this game, and all conversations are represented in on-screen text boxes.  All visual cues are accompanied by on-screen indicators. About half of my playtime was without sound and I did not experience any issues or difficulties. This game is fully accessible.

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

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