HIGH Buddy and Bag Boy are just too cute.

LOW Unimaginative use of an oversized world.

WTF The only surviving animals appear to be two miniscule cats who are real jerks.

If the machines eventually take over, I can only hope our new mechanical rulers are robots like Buddy and Bag Boy, the main characters of Misc. A Tiny Tale.

In the wake of humanity’s extinction, we have (unsurprisingly) left an assortment of junk and trash in our stead. Living amongst our refuse is a diminutive race of robots who have turned cans into homes and see couch cushions as mountain ranges. Late one evening, an explosion rocks their peaceful little world, prompting Buddy and Bag Boy (best friends forever, and the nicest little bots anyone could ever hope to meet) to venture out in search of its source — and, just maybe, learn a little something about themselves along the way.

Misc. A Tiny Tale is a third-person, 3D platformer with a heavy emphasis on collectibles. The challenge is light and there is no fail state. Buddy has just a handful of primary verbs, and most obstacles can be overcome with a standard double jump and glide.

Across its eight main stages, players are dropped into large, non-linear areas with the goal of uncovering the missing golden cogs necessary to open passage to the next level. Finding these is a matter of exploration and rendering aid to the local robot population. In addition to collecting the lost cogs, players are also asked to clean up the garbage and goo littering the world.

There is a general lack of complexity in Misc. A Tiny Tale, and most of the cogs are found through simple fetch quests. Others are tucked away behind basic platforming segments or awarded for cleaning up scattered garbage. I was disappointed that there was little evolution after the opening stages, and found myself repeating these same straightforward tasks in the final areas of Misc. A Tiny Tale.

As one could guess from the title, size plays an important role in Misc. A Tiny Tale.  The robots are rarely more than a couple of inches tall — blades of grass are jungle thickets, a coffee table is a towering mesa, and a child’s swing set becomes a colossus amidst the arid desert of the local playground.  Unfortunately, this sense of scale is rarely utilized in a meaningful way. 

Many of the stages take place outdoors, in natural environments lacking in a standard sense of relative size. Often, the oversized objects end up feeling like set dressing. Is the process of scaling a mound of dirt in a garden meaningfully different from climbing a mountain as a human-sized character? It wasn’t until the final stages, as I was bouldering up the side of a TV stand and running along the eye-level baseboards of a mammoth living room, that I began to truly feel how miniscule these robots are in relation to the human world.

For all the simplicity in its play, I was surprised to find myself hunting down every golden cog in each of the stages, something I attribute to how endeared I was by the characters and writing. I wasn’t anticipating being so emotionally invested in Buddy, Bag Boy, and the many friends they make along the way. Of particular note are the Bro Bots, a couple of workout-obsessed beetles that have a crush on one another but are too shy to admit it. Enter Buddy, matchmaker extraordinaire, to help break the ice. Moments like these ultimately overshadowed my disappointment with the core play and, after a surprisingly affecting late-stage turn (no spoilers here!) I was fully onboard with Buddy and Bag Boy’s odyssey across the tiny robot world.

Despite its lack of complexity and failure to capitalize on its oversized world, I found it easy to like Misc. A Tiny Tale. The chunky, expressive little automatons immediately drew me in, and its earnest narrative of self-acceptance and mutual aid proved a pleasant counterpoint to the ever-growing hellscape of the real world. While these elements aren’t enough to propel Misc. A Tiny Tale into the annals of the genre giants it’s modeled after, I’d be lying if I said there wasn’t a smile on my face as I watched the credits roll over a saccharine song espousing the power of friendship.

Rating: 6 out of 10

Buy Misc. a Tiny Tale – PC – Switch

Disclosures: This game is developed and published by Tinyware Games. It is currently available on Switch and PC. 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 Violence. This game is generally appropriate for all audiences.  The violence is minimal, with the only enemies in the game being wind-up toys, and the only weapon being a safety pin. There is no blood or gore.

Colorblind Modes: There are no specific colorblind modes available, however there is a high-contrast option for the dialogue boxes that appear during gameplay.

Deaf & Hard of Hearing Gamers: This game offers subtitles for character dialogue, however there is an un-subtitled song that plays during a late-game cutscene with lyrics that are heavily referential to the narrative and themes. For this reason, this game is not fully accessible. Otherwise, the subtitles cannot be resized, although there is a high contrast option for the dialogue boxes that appear during gameplay. There are no significant audio cues utilized during gameplay, and I experienced no issues when playing without sound.

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

The post Misc. A Tiny Tale Review appeared first on Gamecritics.com.

HIGH Amazing set pieces and co-op gameplay

LOW Simplistic storytelling, predictable character beats.

WTF Pig body horror. 

Split Fiction is the latest game from Hazelight Studios, the studio behind It Takes Two and A Way Out.

Their most recent offering happily builds on the foundations of its predecessors to create what is possibly one of the best two-person co-op (especially couch co-op) action games around. Similar to It Takes Two, Split Fiction is mainly a split-screen cooperative 3D action-platformer with puzzle-solving mechanics, but it pushes collaboration further than we’ve experienced in virtually any other game. It also looks and feels as though it intends to tell a more mature story than the studio has done in the past, though the script isn’t as successful as the gameplay.  

Split Fiction centers on Zoe and Mio, two aspiring writers of fantasy and science fiction, respectively. They are invited to get their work published by a tech CEO named Rader, but instead of a traditional book deal they’re told they must first relive their stories in his VR bubble machine called, “the Machine”. Such a naming convention is, sadly, indicative of the storytelling complexity here.  

Mio and Zoe become trapped in the same VR bubble and must figure out how to work together to escape. Naturally, the two women are polar opposites, with Mio preferring action and dark sci-fi stories, while Zoe enjoys escapist happy-ending fantasy. Over time, the two learn from each other and find common ground as the experience develops them and reveals their formative traumas.

Having a predictable story structure like this one is not necessarily a problem, but my partner and I felt that the character conflict felt forced, with Mio written to be unrealistically immature considering that both characters seem to be writers in (at least) their 20s. For example, Mio initially claims that she’s never thought about whether she puts a part of herself in her stories, which we found implausible for an adult writer. We also found that the character development of their respective inner conflicts to be fully unsurprising, and that their development never grew past the stereotypes they appeared to be from the start.

Fortunately, outside of the narrative, Split Ficton has much to offer.

In terms of aesthetics, Split Fiction dabbles in existing genres and themes — the worlds and stories aren’t wholly original and often seem referential to other games — but the gameplay and setpieces are exciting, and the co-op integration and variety are extremely well-executed.

Like It Takes Two, Split Fiction excels at pushing players to collaborate to solve puzzles. Typically, the players are given distinct abilities that work together in interesting ways, and both are needed in conjunction to move through an environment or defeat bosses.

In one of the fantasy sections, Mio had the ability to create platforms, while Zoe could rotate them. This division of skills meant that we had to plan when and where we would place them. In one of the sci-fi areas, we were super soldiers infiltrating a high-tech chemical base, and we had color-coded shooting mechanics integrated with puzzle solving. My partner and I often had to talk through overcoming obstacles that were more complicated than simply trying to coordinate pressing a button at the same time.

In addition, I see one of Split Fiction’s strengths being that it breaks up the campaign through the use of shorter “side stories” which give players a temporary detour from whatever’s happening. These allow the introduction of new mechanics and generally don’t outstay their welcome. In one case we spent a short time as (literally) magical pigs which farted rainbows or extended like a slinky.

Overall, while the individual gameplay mechanics in each section are not novel, the way that co-op and the “split” part of Split Fiction is executed is highly original and impressive, and the roles of the characters were often distinct enough that there might be some replayability in swapping characters for a second playthrough. 

The difficulty of Split Fiction seems intended to be approachable to the average gamer, and we found the difficulty to be calibrated just high enough to present an enjoyable challenge. That said, people who do not play many modern action games might have more of a learning curve. However, the penalty for dying is minimal, there are generous checkpoints, and as long as one player is alive, the other person can rejoin within seconds. We also appreciated that accessibility settings like reticle on/off or button mashing on/off can be adjusted for each character individually.

Overall, Split Fiction exceeded our expectations when it came to co-op action-puzzling — we just wished the story had more nuance and depth. If Hazelight Studios were to focus the same level of attention to both gameplay and writing, their narratives could serves to be more than vehicles to experience their action through, and that would be something like no other. However, even as it is, Split Fiction remains something special and one of the best cooperative experiences out there. 

Rating: 8 out of 10

Buy Split Fiction: PC – PS – XB

Disclosures: This game is developed by Hazelight Studios and published by Electronic Arts. It is currently available on XBX/S, PS5, and PC. This copy of the game was obtained via publisher and reviewed on the PS5. The game was completed in approximately 15 hours, and the entire game was played in split-screen co-op.

Parents: According to the ESRB, this game is rated T and contains Language, Blood and Gore, Crude Humor, and Violence. There is swearing, shooting guns and welding swords, mild violence, explosions, and scary situations like dental procedures and prison are depicted.

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game offers subtitles. All audio can be shown in subtitles and closed captions are available. Audio cues have visual indicators as well. The subtitles can only be altered to add a background, but not resized. This game is fully accessible.

Remappable Controls: This game offers fully remappable controls.

The post Split Fiction Review appeared first on Gamecritics.com.

HIGH Delightfully lively, humorous, and lovable characters. 

LOW Retracing steps gets old in the later hours.

WTF Just what exactly are those bones next to Swamp the rat? 

For those in the market for an engaging, introductory 3D platformer for a younger child or gaming newcomer, I’m happy to report Mail Time is a sound option. With the whimsy and charm of Winnie the Pooh and forgiving platforming that doesn’t sacrifice freedom, Mail Time is a lovely “cozy” game.

Mail Time sees the player assume the role of the newest Mail Scout trainee, tasked with delivering letters to the animal residents of Grumblewood Grove. The player will jump and glide around the serene forest while making friends, discovering relationships, and collecting badges to signify their accomplishments as a Mail Scout. 

Grumblewood Grove is a lovely locale for Mail Time and offers a sprawling forest, muddied swamps, a treetop village, and even a larger-than-life tea party. Though occasionally hindered by some pop-in and a camera that will sometimes get caught behind larger setpieces, the graphics look solid for something coming from a small development team. The Mail Scout’s movement is basic but satisfying. With a jump, a double jump, and a glide, the controls are easy to pick up, even for even the greenest of players. 

Mail Time’s main loop consists of interacting with the forest’s residents, listening to their quandaries, and delivering a letter to whomever might be able to help with their situation. Once a letter is received, it will pop up on the left side of the screen along with the face of the villager the letter is to be sent to. It will also be recorded in the journal — a helpful tool to keep track of the many letters in the player’s pouch. 

Mail Time’s greatest strength is undoubtedly the colorful, memorable characters that inhabit the forest. Not only are their models simple, yet charming, their dialogue is smart and humorously written. Some of my favorites include Max the capybara who’s looking for his orange hat, which he insists is not an actual orange (spoiler: it is definitely just an orange), and Haley the goose and Donna the snail, who both have a crush on each other but are too shy to admit it. 

The act of delivering letters expands each character’s storyline and fleshes out their relationships with fellow forest residents. For example, Egbert the stuffy squirrel hates his upstairs neighbor Clarence the woodpecker for playing his loud music at the very late hour of 8pm, and sends him multiple complaint letters for doing so. But, once finding out they both share the same passion for woodwork, he asks Clarence to help him make an anniversary present for his wife, Annie. Though some mail delivery plotlines are more engaging than others, they serve as an excuse to get to know the characters and be treated to more witty dialogue. 

Exploration and mail delivery, however, can grow stale quickly. With no map provided, the player must remember where each character is in the forest — a difficult task in the early stages when I was still discovering new characters, and my mail pouch was overflowing with deliveries.

Once I learned where everyone was, it did feel as though I was retracing my steps over and over in what felt like a glorified fetch quest, sometime just running back and forth between the same two characters over and over. Though covering the forest repeatedly might be satisfying for a younger gamer, with no additional or more interesting options, more experienced gamers’ patience might be tested.

Luckily, Mail Time’s ambiance and memorable characters outweigh the backtracking issues. I loved getting to know the residents of Grumblewood Grove and helping resolve their conflicts — it really felt like I was making the forest a better place. Mail Time is a lovely cottagecore adventure best enjoyed with a younger gamer, or those looking for a relaxing escapade to be enjoyed on a rainy afternoon.

Score: 7 out of 10 

Disclosures: This game is developed by Kela Van Der Deijl, and published by Freedom Games. It is currently available on Switch, PC, PS4, and PS5. This copy of the game was obtained via publisher and reviewed on PS5. Approximately 2 hours of play were devoted to the single-player mode, and the game was completed. There is no multiplayer mode. 

Parents: According to the ESRB, this game is rated E. No official description of the game is offered by the ESRB. This game can be enjoyed by all ages and is suitable for even the youngest of gamers! 

Colorblind Modes: There are no colorblind modes available. 

Deaf & Hard of Hearing Gamers: This game features subtitles, which cannot be altered and/or resized. Audio cues are not needed for progression, making this title fully accessible. 

Remappable Controls: No, this game’s controls are not remappable. A picture of the controls is not included in the game, but they are very straightforward — left control stick to move, right control stick to move the camera, and X to jump and interact with characters and objects.

The post Mail Time Review appeared first on Gamecritics.com.

HIGH Bombastically chaotic level design and exploration. 

LOW The main story concludes sooner than I would have hoped.  

WTF Where did the Bobs come from??

For folks missing the ’90s, where 3D-platformer collect-a-thons heavily populated home consoles, I bear good news — Bang On Balls: Chronicles is here, and it’s a joyous riot that recaptures the same spirit. With meticulously detailed, creative worlds, and bombastic chaos around every corner, Bang on Balls: Chronicles is a crazed romp of a 3D-platformer that is not to be missed. 

Bang On Balls: Chronicles sees the player assume the role of one of the ‘Bobs’ – the universal name of the circular inhabitants that populate this world. Using a movie studio as a hub world, the player will enter movie sets that will come to life in the form of fully explorable 3D worlds. Within each of these worlds, the player will have a set of missions to complete, and along the way will collect a plethora of collectibles, do battle with colorfully-dressed Bobs, and break absolutely everything in their path. 

Level design here is top notch. Each of the explorable worlds is huge, crammed with details, and exploding with life and personality. Ranging from a Viking invasion, a Cold War-inspired USA vs Russia race to the moon, a pirate world with tons of islands to explore, and a world depicting Japan in various points in history, each of these areas was an absolute delight. 

The Bobs of Bang on Balls: Chronicles are absolutely ridiculous, and these rolling fellows who act as friend and foe alike are bursting with personality. They’re also are always dressed to correspond with whatever world they inhabit — so in the Viking invasion — you guessed it — they’re horned invaders. In the Japan level, they range from Samurai for the Feudal era to arcade owners for the area set in the ’90s. What’s most impressive about the Bobs is that they never feels extraneous — every enemy and NPC always has an activity they’re in the middle of when the player encounters them. Whether colluding with their fellow Russians to fix the rocket in the space level, to attacking a Spanish inquisition-style mansion in the Pirate world, the Bobs always have a purpose before the player stumbles across them, which only strengthens the already stellar world-building.  

Within each level the player will have a set of missions such as destroying ships, defeating enemies, or collecting items. Once these goals have been completed, a boss will be unlocked to complete the world. However, there’s so much more to do besides simply beating each boss. Every level has an abundance of secret areas to uncover, fellow Bobs to free from cages, and items to collect. One of my favorite parts of Bang on Balls was an “ah ha!” moment in the Viking level when I came across secret cave cleverly tucked out of view that led to a water-filled underground cavern. It made me realize just how well-crafted Bang on Balls is. 

Exploration and combat are rewarded with new outfits and weapons for Bob. There are TONS of customizability options, ranging from silly hats and jackets to epic helmets and shields. Though most of the outfits found in the overworld are purely aesthetic, items dropped by bosses are usually accompanied by special abilities, such as an electrically charged Thor-like hammer, a voodoo staff to summon undead monsters to fight by your side, and a lightsaber sword to unleash a powerful attack. My favorite was a hover backpack equipped with a ketchup and mustard blaster that allowed me to extend my jumps. It was great to unlock new weapons and experiment with which ones fit my playstyle — though I do wish a description of each weapon’s ability was provided.  

Combat is predictably chaotic, if a bit redundant at times. Without the aid of items, Bob’s only base attacks are his dash and ground pound — the latter of which is not helpful against larger enemies. So, combat encounters usually divulge into repeatedly spamming the dash attack, a strategy that greatly tired out my right pointer finger. As the campaign progressed and I gained access to more items, my tactical library expanded a bit, but it always seemed like mashing the dash button was the most successful plan.  

Though completionists will have their hands full collecting all the outfits and items, those not wanting to uncover every nook and cranny will likely finish in a few short hours. Bang on Ball’s most significant weakness is a short running time — although this is a good problem to have, as I simply wasn’t ready conclude my time with the Bobs. Luckily, the entire adventure can be experienced in local or online co-op with a group of friends, creating replay value and tons of gut-busting silliness with your collect-a-thon-loving friends.  

Though Bang On Balls: Chronicles doesn’t reinvent the platforming or collect-a-thon genres, it vibrantly fills its world to brim with personality, secrets, and silliness, and the pure joy of discovery and chaos in Bang on Balls had me grinning ear-to-ear throughout its brief runtime. This is a must-play for fans missing the collect-a-thons of the ’90s, platforming enthusiasts, or anyone who wants to break stuff and have a great time doing it. 

Score: 8.5 out of 10

Disclosures: This game is developed by Exit Plan Games, and published by Untold Tales and Couch Play Interactive. It is currently available on Switch, PC, PS4, PS5, and XBO/X.This copy of the game was obtained via publisher and reviewed on PC. Approximately 4 hours of play were devoted to the single-player mode, and the game was completed. Approximately 1 hour of play was dedicated to multiplayer. 

Parents: According to the ESRB, this game is rated T and contains Crude Humor and Fantasy Violence. No official description of the game is offered by the ESRB. Though I suppose the pun of all the characters being balls could be construed as “crude humor,” and the sheer chaos of destroying everything in the player’s path might be considered by some to be excessive, I think this game can be enjoyed by pre-teens as well. 

Colorblind Modes: There are no colorblind modes available. 

Deaf & Hard of Hearing Gamers: There is no dialogue in this game. Text is limited to helping the player know their next objective, which cannot be altered and/or resized. Audio cues are not needed for progression, making this title fully accessible. 

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

The post Bang On Balls: Chronicles Review appeared first on Gamecritics.com.

HIGH Beautiful, scenic and cathartic vistas.

LOW Some slippery platforming.

WTF Those human statues creep me out.

Ever since Journey popularized the story-driven 3D platformer, many titles have tried to follow in its footsteps of telling captivating tales through gameplay and world design, rather than text. After Us is the latest to take a crack at it, and while it creates some beautiful moments, they are ultimately fleeting when combined with occasionally tedious exploration and imprecise platforming. 

As suggested by the title, After Us is set in a post-apocalyptic world devoid of human and animal life. The player will control an entity known as Gaia, the Sprit of Life, whose quest is to rescue the spirits of deceased animals and return them to the Mother’s Ark — the place where all life is born. Using jumping, dashing, and gliding powers, the player will guide Gaia through 3D platforming exploration and challenges to recover the lost spirits. 

After Us’s biggest strength is its ability to orchestrate beautiful and memorable landscapes. After climbing seemingly endless towers or trudging through dark desolate underworlds, Gaia will be greeted with views that are simultaneously beautiful and haunting, reflecting devastation the world suffered at the hands of humans. It stunningly encapsulates the developers’ aim to examine the effect of humanity’s tampering with the world’s natural resources, while also putting a magnifying glass on the animal kingdom. 

Gaia will need to platform her way through this desolate world to rescue eight trapped animal souls, in addition to over 100 smaller optional animal spirits that act as collectibles for those wanting to explore every inch of the landscape.

Unfortunately, the platforming feels slippery. This might reflect Gaia’s ethereal persona effectively, but it’s frustrating when failing precise platforming challenges — it often felt like the fault of the game, and not a fault of my input. Though Gaia’s double jump and glide can help correct imprecision, they don’t prevent multiple moments of frustration. Luckily, the penalty for death is minor, as Gaia will be put back on the nearest ledge after an untimely fall.

Gaia’s other abilities allow her to dispel patches of darkness by creating greenery, and also sending out a spiritual orb projectile to either collect animal spirits or attack enemies. Both of these abilities are useful for situational puzzles, but mostly feel like an afterthought. The same goes for combat, as the presence of enemies provides more menacing atmosphere than actual challenge. 

However, those things aside, my biggest issue with After Us is the exploration and collectables.

Though the beautiful and chilling surroundings are a pleasure to discover, they grow stale after a while, especially as there is no real difficulty or gameplay progression after acquiring all of Gaia’s abilities in the first hour or so, meaning there’s no tangible motivation to find all of the optional animal spirits hidden in the furthest reaches of After Us’s world. This gives the animal preservation message of After Us a slightly more passive aspect, and it doesn’t feel as relevant or as vital as it should.

Despite its immediate beauty, After Us doesn’t generate the emotional response I would hope for from a title in this genre. Perhaps if it were a bit shorter and more focused, I would have been more motivated to explore and rescue every spirit. Instead, the unpolished platforming and surplus of unnecessary collectibles diluted its intensity. Though there are certainly some memorable moments here, there are simply other titles in the genre that are much more successful at doing what After Us is attempting to accomplish. 

Score: 6.5 / 10

Disclosures: This game is developed Piccolo Studio, and published by Private Division. It is currently available on PS5, Xbox X/S,  and PC. This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 7 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: This game is rated T by the ESRB for Blood and Gore and Violence. From the ESRB: “This is a third-person adventure game in which players control a nymph trying to rekindle life on Earth after widespread extinction. Players explore eight environments/areas while traversing platforms, solving puzzles, and avoiding hazards and occasional enemies. Some levels depict instances of mild violence: avoiding bear traps; ghoul-like creatures menacing characters; oil puddles with tentacles that grab players; gunfire from an unseen hunter. Large animal corpses are sometimes seen impaled by harpoons or hanging from meat hooks; some animal corpses are stained with black blood. During the course of the game, players frequently encounter grey, statue-like representations of a lost/extinct humanity (e.g., statues holding hands, standing still, embracing); all statues are depicted nude, though without genitalia or nipples.”

Colorblind Modes: There are no colorblind modes available in the options.

Deaf & Hard of Hearing Gamers: The game features subtitles, though they cannot be resized. Audio cues are not needed to progress the game, making it fully accessible.

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

The post After Us Review appeared first on Gamecritics.com.

HIGH Solid writing and breezy platforming.

LOW Performance issues, at least on Switch. 

WTF Clancy f*cking Brown!

For a certain generation, SpongeBob SquarePants quotes are a social currency. The same way that programs like The Simpsons, Family Guy, and Seinfeld have infected the lexicon of millennials and Gen-Xers, Gen Z absolutely loves SpongeBob. I’m definitely in that camp and it’s still something I quote often, so naturally a new game based on the property was something I was eager for. 

SpongeBob SquarePants: The Cosmic Shake is a brand new 3D platformer developed by the same team behind SpongeBob SquarePants: Battle for Bikini Bottom — Rehydrated (a title I reviewed back in 2020).

Taking place in Bikini Bottom, SpongeBob and Patrick find themselves in the middle of a multiverse mess after an encounter with a mermaid fortune teller. Each of the main SpongeBob cast has been transported to different worlds in a series of disconnected universes, with each of their roles ranging from noble to absolutely dastardly. Now, the two are tasked with restoring the now-disrupted Bikini Bottom and saving their friends from being lost in the multiverse.

Gameplay-wise, Cosmic Shake feels similar to the Bikini Bottom remake in that players control SpongeBob who has different abilities like a ground pound, a bubble projectile, and a swing move that works when he’s near certain hooks. However, while the gameplay and mission structure of BfBB is more open-ended and reminiscent of old-school collect-a-thons, Cosmic Shake is a little more linear, offering an experience separated into distinct levels with specific objectives. 

For example, the very first section is a cowboy-themed one where players need to track down an outlaw version of Mr. Krabs being hunted down by the sheriff — a cactus soda-loving Sandy Cheeks. It’s all ridiculously charming stuff that gives the player an excuse to run around while following a specific objective (in this case, juicing different cacti) and to occasionally fight some enemies. It’s the standard platformer stuff I love, but with a coat of remix paint on top. As such, I enjoyed the gameplay loop, even if it wasn’t too inventive.

In between the platforming segments are a few minigames like a soda chugging contest, along with a host of other, fairly creative levels. My favorite was a movie studio where Squidward is an impatient and pretentious director making a martial arts film. What made this level cool was the fact that a whole chunk of it was played in 2.5D perspective, like a beat-’em-up. Fighting enemies in a backlot while getting yelled at by an angry director was entertaining, and I was sold.

While I can deal with generic level design between the minigames, some minor technical issues on the Switch did get annoying. For example, there were instances of slowdown, longer loading times, and texture pop-in. It was nothing gamebreaking and it didn’t ultimately impede my enjoyment, but it’s just a shame to see something so bright and colorful exhibit these issues.

What wa solid, however, was the cheery presentation I just mentioned — especially the art style and humor. Using the groundwork of BfBB, the character models look great. I love how expressive and over-the-top they are, with the voice cast from the TV show popping in as well. Hearing Clancy Brown as Mr. Krabs after being absent from the last remake was a treat, and everyone else was just as good. It felt like watching a SpongeBob feature-length film.

The humor of Cosmic Shake is just as good. Everything feels like it caters to the fans, from the horrifically detailed freeze-frame shots, to the loading screens displaying the “One Second Later” title cards from the episodes. I also loved how sarcastic all the NPCs were, mocking the player in a SpongeBob vein and making very meta jokes about the game itself. 

SpongeBob SquarePants: The Cosmic Shake is the kind of thing I love to champion — a mid-budget licensed platformer with a few rough edges that could have easily existed in the ’00s. Sure, it’s not breaking any new ground and could use a little polish when it comes to level design and performance on the Switch, but the final product is a joyous ride from start to finish. For fans of the series like me or anyone else who can’t get enough of that yellow sponge, this undersea multiverse adventure is worth checking out. 

Score: 7.5 out of 10

Disclosures: This game is published by THQ Nordic and developed by Purple Lamp. It is available on PS4, XBO, PC, and Switch.This copy was obtained via the publisher and was reviewed on Switch. Approximately 10 hours were spent in single-player and was completed. There is no multiplayer mode. 

Parents: According to the ESRB, this game is rated E10 for Comic Mischief and Fantasy Violence. The site reads: This is a 3D platformer game in which players help SpongeBob and Patrick rescue their friends transported to parallel worlds. As players explore themed worlds (e.g., Wild West, Medieval, Halloween), they complete objectives, interact with characters, and engage in melee-style combat with enemy creatures. Players use bubble-wand spin attacks, ground pounds, and karate kicks to defeat jelly enemies in frenetic combat. Combat is highlighted by cries of pain, screen-shaking effects, and mild explosions; enemies generally burst into bubbles when defeated. One sequence depicts trucks filled with manure.

Colorblind Modes: Colorblind modes are present in the options menu.

Deaf and Hard of Hearing Gamers: There are subtitles present in the game, as well as visual cues during gameplay. Subtitles can be adjusted. This game is fully accessible.

Remappable Controls: The controls cannot be remapped.

The post SpongeBob SquarePants: The Cosmic Shake Review appeared first on Gamecritics.com.

HIGH Solid, enjoyable, kid-friendly platforming.

LOW Long loading times after a defeat.

WTF These Kukoos have a weird obsession with their pets.

Whenever I’m asked where newcomers should begin their gaming journey, I always recommend a 3D platformer. The best of the genre feature simple-yet-intuitive controls, minimal combat, and plenty of feedback as they master the content. Kukoos: Lost Pets aims to create an approachable, kid-friendly platformer echoing a Saturday morning cartoon, and while it checks most of the boxes it aims to, some rough edges prevent it from being a rewarding experience for all ages. 

As with most platformers, the story is simple but serviceable. On a distant planet, the creatures known as Kukoos run an experiment to make their pets more obedient. But after going haywire, the Kukoos must travel to a variety of worlds to calm their pets and return harmony to their land. Don’t worry — no actual pets were harmed in the making of this game.

Kukoos sees players moving through linear levels from a mostly top-down fixed camera with the goal of reaching the end of the level. Playing similarly to a Super Mario 3D World or Crash Bandicoot with a hint of Fall Guys, Kukoos is an approachable, low difficulty platformer that allows younger or new gamers to focus solely on their jumps and rolls without having to fuss with the camera. Luckily, the camera angles switch frequently enough to create new and interesting platforming scenarios to keep the player engaged. 

Each area of the adventure features a lost pet that ultimately provides the player a new tool to progress. Whether it’s a pet that turns lights on and off to immobilize certain enemies and solve puzzles, or one that creates a platform the Kukoos can swing from to bridge long gaps, each new pet is enjoyable to use and keeps gameplay fresh. However, these pets usually have a button to turn them ‘on’ and another to actually use the ability — a process that is frustrating to learn and should have been streamlined.

Each level has three collectables — coins, hidden flowers, and enemy souls (which are obtained upon vanquishing foes). At the conclusion of each section, the player is given a rank for each collectible depending on how many are acquired, with awards ranging from “meh” to “perfect.” Though this does add some replay value, there is no tangible benefit for acquiring “perfect” rankings — even something basic like different skins for the Kukoos would have been appreciated. This lack of reward unfortunately diminished my want to explore, and I soon found myself plowing towards each level’s end. 

Along the way, each level has checkpoints where players respawn should they fall to their death or get whacked by baddies. These points are frequent enough to create a forgiving experience, but the player will be punished with a cruelly-long loading screen every time. Even on my PS5, these loading screens could last up to ten seconds before respawning, making challenging sections frustrating to the point of wanting to turn the game off because of the delay before being able to try again.

It’s worth noting that Kukoos features a multiplayer mode which allows up to four players to progress through levels together. Though I did not get to extensively experiment with friends, this seems like a great way to experience the content. Whether joined by players spreading out to search every corner of the screen for collectibles, or by a parent or friend who’s supporting a less-experienced player’s progress, it’s a nice touch that gives Kukoos a bit more identity. 

While Kukoos is certainly suitable for new or young gamers, I wouldn’t recommend it for seasoned or even casual players since the gameplay and level design don’t do enough to make it stand out from an already-strong field of 3D platformers, regardless of platform.

Kukoos: Lost Pets is a decent option for a parent introducing their child to the world of gaming in a low-stakes, cartoonish environment but it doesn’t offer much else besides the lamentable loading times. It’s cute, but there are other games that fill a similar introductory role much better than this one.

Disclosures: This game is developed by Petit Fabrik, and published by Modus Games.  It is currently available on Switch, PS4/5, XBX/S, and PC. This copy of the game was obtained via publisher and reviewed on PS5. Approximately 4 hours of play were spent playing the game, and the game was completed. Approximately 30 minutes were spent in multiplayer.

Parents:  This game is rated E and contains Mild Fantasy Violence. From the ESRB: “This is an adventure platformer in which players control oceanic characters through various worlds. From sideways and overhead perspectives, players traverse whimsical platforms and use power-ups to defeat enemy pets that emit cries of pain and disappear into puffs of smoke when struck/jumped on. Boss battles depict more protracted violence (e.g., shooting a giant crab with a cannon; deflecting large bullets fired from a cartoony machine-gun turret).“

Colorblind Modes: There are no colorblind modes.

Deaf & Hard of Hearing Gamers: In-game text is not resizable. Audio cues are helpful for hearing upcoming enemies and obstacles, but they are not accompanied by visual cues, making this game not fully accessible.

Remappable controls: No, controls are not remappable.

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HIGH An ambitious change to the Sonic formula.

LOW A few technical issues.

WTF Tails making me cry.   

I just turned 25 and I already have two Sonic-related reviews posted at GameCritics this year. In the summer, I took a look at Sonic Origins, a solid compilation of Sega Genesis-era Sonic games that reminded me how much I loved the series. There’s no sense denying how big a fan I am at this stage of my life.

And now with this, the first new fully 3D Sonic game in five years, Frontiers changes the formula in significant ways. The most prominent comes in the form of level design. Frontiers feature large-scale, open-ended islands that act as hub worlds for Sonic to explore. Played from a third-person perspective, Sonic is tasked with saving his friends after being separated by them via a wormhole. 

The worlds are structured like standard, free-roaming 3D areas, and players are tasked with exploring the islands for specific collectibles that move the story forward. The end goal of each level is the same — save Sonic’s friends, collect the chaos emeralds and defeat a final boss.

Along the way, players will interact with different elements across the game world. For example, Sonic can solve puzzles and play minigames that reveal secrets across the map. At first, it’s weird seeing the standard triple-A style open world in a Sonic game. I mean, I was basically doing the same thing I was doing in games like Assassin’s Creed or even Far Cry, but now as a mascot platforming character. However, it never became grating or boring, and part of the reason why is because the traversal is just so damn good. 

Similar to how intuitive it feels to swing as Spider-Man in the Insomniac Spider-Man games, throwing Sonic into an open world and giving him some space to run rules. Zipping around large swaths of land and covering them in seconds never gets old, and catching some air to do tricks adds spectacle to the whole thing. The simple act of moving is enjoyable in its own right, which is something that few games nail. 

Scattered across the map are various towers that allow Sonic to enter “Cyber Space.” These play out like the standard “boost” segments that have been prominent in the last few 3D Sonic titles. These sequences have players running in a straight line toward a goal. Every level has set parameters and goals such as completing the level under a certain or collecting a set number of rings, and each one unlocks a key ultimately used to collect a Chaos Emerald located in a tower on the map. 

Another major activity comes in the form of fishing, which might be my favorite part of Frontiers. Here, Sonic joins fan-favorite character Big the Cat in an angling minigame. It’s a nice little distraction that nets (pun intended) some great rewards, like keys to the Emeralds and more. Not only is it enjoyable to catch these creatures, but I also love how expressive Sonic gets every time he catches a bizarre one, like a giant squid, golden bass, or even an alligator. 

I am definitely underselling just how big and packed the world in this game is. After about 20 or so hours, I still have a few Cyber Space levels to complete, side quests/minigames to seek out and so many collectibles left to find. Hell, I still need to replay the game on the hardest difficulty to see every phase of the final boss. There’s truly enough here to keep anyone busy for a while.

One of the other major changes aside from the open-world format and sidequests comes in the form of combat. Frontiers puts a major focus on fighting and even includes a dedicated skill tree full of new moves. It’s simple but effective, offering a lot of flashy visuals reminiscent of character action games. There’s even a combo meter that builds up and allows Sonic to unleash a flurry of finishing moves on enemies scattered around the map.

That solid combat translates into the bombastic boss sequences. Each island has a main foe called a Titan. These titans are giant, robotic enemies that require Sonic to use the Chaos Emeralds to become Super Sonic in a very Dragon Ball Z-like energy-filled powering up. These bits were a highlight for sure, as seeing a golden, flying hedgehog unleash hell on anime-style giant robots is just about the coolest thing in the world. 

All of this great stuff is complemented by the exceptional soundtrack. The series has always been known for great music, and Frontiers might be the peak of both the series and gaming soundtracks for the entire year. The audio includes everything from ’90s-sounding Cyber Space music, the first major boss song, and the kick-ass end credits music. It all adds so much personality, and even the mellow, incidental music that plays in the open world is great, perfectly setting the tone for discovery. It’s a shame that there are no new Crush 40 tracks to jam out to, but what’s included in the package is excellent.

The overall presentation is fairly good, though a few graphical elements are less than stellar. Some textures are rough, and there’s pop-in as Sonic is cruising through the world. I assume this is an issue because the devs had to scale the game back for the Nintendo Switch version, but it doesn’t look great. I played on PS5 for this review, and while the art style was exceptional, I feel like there’s a better-looking version of this work coming in the future. The framerate was rock solid, thankfully so I couldn’t complain too much. 

A lot of past Sonic games have some solid (if a bit weird) stories. The narrative ambitions in Frontiers truly caught me off guard, however — but in the very best way.

Without spoiling anything, it takes a much darker and more serious approach to the usual world-ending stories the series is known for. Sonic and his friends are well-written, and while there are still clichéd and anime-esque elements common to these titles, this one made me emotional. In some ways, it feels less like just another Sonic story and more like a celebration of the series. The callbacks to other entries like 2017’s Sonic Forces are a nice touch, and I especially appreciated that they didn’t all explicitly rely on nostalgia. 

Sonic Frontiers is the best 3D Sonic of the last decade, and it’s easily one of the best platformers I’ve played in recent years. The changes to the classic formula, coupled with some of the best music video games has to offer makes it a real gem, but what made it truly noteworthy is the ambition on display. I believe Sonic Team and Sega have finally made the game they wanted to make ever since the failure of Sonic the Hedgehog (2006) and we now have a worthy successor to Sonic Adventure.

It feels good to have our Blue Blur back in the spotlight. 

Disclosures: This game is published by Sega and developed by Sonic Team. It is available on Switch, PS4/5, PC and XBO/X/S.This copy was obtained via publisher and was reviewed on PS5. Approximately 20 hours were spent in single-player and the game was completed. There is no multiplayer. 

Parents: According to the ESRB, this game is rated E10 for Fantasy Violence. The site reads: This is an action platformer in which players follow Sonic and his friends as they battle mechanical Titans. From an overhead perspective, players zoom through an alternate dimension while collecting items (e.g., rings, power-ups) and battling enemies (e.g., bouncing on them). Boss battles prompt players to climb giant robots while targeting weak spots and engaging in timed button presses for specific actions (e.g., energizing a punch, prying a robot’s jaw open, pushing back against a giant sword). Some sequences depict slow-motion effects and explosions.

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

Deaf and Hard of Hearing Gamers: Subtitles and visual cues representing sounds are present, but neither can be resized or adjusted. This game is fully accessible.

Remappable Controls: The controls cannot be remapped and there is no control diagram, though there are tutorials to show off how movement and combat controls.  On PS5, the X button is used to jump and select menu options, square is used to attack and confirm an action, circle is used to dodge and back out of menus, triangle is used to active the Cyloop, the left and right bumpers are used to sidestep, the right trigger is used to boost and the left is used to unleash an attack during a combo.

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HIGH Creative and accessible platforming.

LOW Kinda dated. 

WTF Wait a minute, where’s Ms. Pac-Man?

The late ’90s were an exciting time for gaming, as this period saw the rise of 3D experiences on home consoles in a few different flavors. Things like Super Mario 64 blew everyone’s mind as developers successfully translated 2D gameplay into fully-open 3D platformers. Other games, like Crash Bandicoot, found a different balance in merging 2D and 3D platforming with a more focused, controlled approach toward level design.

This latter type was the case for Namco’s Pac-Man World, starring one of the world’s most famous game icons. Now, almost twenty-two years later, World has returned with a remake subtitled Re-Pac, throwing a fresh coat of paint on this classic. The goal is to conquer six worlds and save Pac-Man’s friends and family from Toc-Man, an evil robotic version of the hero. 

Gameplay-wise, Pac-Man World: Re-Pac is played from a third-person perspective with a fixed camera angle. Levels generally play from a side-scrolling approach, much like a standard 2D sidescroller, though there are 2.5D elements of foreground and background. The gameplay is now-standard stuff that plays like an old-school title, for better or worse.

Similar to most 2D games before it, the goal of each level is to simply make it to the end. The platforming itself feels great, and Pac-Man also has an assortment of abilities, like a ground pound, a roll that lets him get up slopes, and he’s also able to launch his iconic pellets after he collects some across each level.

Speaking of collecting, every stage features fruit scattered around. Collecting them allows Pac-Man to open doors to access bonuses and secret levels modeled after the original maze structure of old-school Pac-Man.

While these aspects are solid, Re-Pac has a heavy reliance on backtracking for collecting bonuses. While most of it is optional, it’s still annoying. Thankfully, the experience is solid overall, with fluid play that’s approachable and challenging at the same time. While I do wish there was an option for unlimited lives, I did like the addition of an “easy” mode, allowing for blocks between platforms to prevent players from falling, and this mode also lets Pac-Man hang in the air a bit longer while jumping to avoid mishaps. 

Even if the gameplay is ultimately simplistic, I still love it. It’s retro platforming at its finest, and getting into the groove of jumping through each level was great. What really struck me, however, was the level of design and creativity on display. Sure, it’s cliché to have familiar themes like a pirate level and factory level in a mascot platformer, but the colorful visuals and bubbly music make it work.

However, even better are the boss designs and mechanics. Much of this genre struggles with boss encounters — some opt for great spectacle with a low challenge, and others go vice versa. Re-Pac manages both. My absolute favorite is a Galaxian-themed fight played from a top-down perspective, shooting pellets at enemy ships while arcade music is blasting in the background. Having to avoid getting hit with projectiles while maneuvering as one would in the original arcade game is damn cool, especially since Galaxian and Galaga are my favorite Namco arcade titles. Others include an enjoyable racing minigame and even one where Pac-Man is running away from the screen as we see the boss’s perspective in a first-person view.

Pac-Man World: Re-Pac might be a bit basic at times, but it nails the mechanics and delivers on the production. It feels like exactly the kind of thing I would have enjoyed as a kid — which basically means I also enjoy it now as a platforming-crazed adult. I’m glad Namco is looking to its classic catalog in this way, and I’m hoping it means we get more from them in this style. Pac-Man fever? I have it.

Disclosures: This game is published by Bandai Namco and developed by Now Production. It is available on PS4/PS5, Switch, XBO/X/S and PC. This copy was obtained via publisher and was reviewed on PS5. Approximately 10 hours were spent playing and the game was completed. 

Parents: According to the ESRB, this game is rated E for Mild Cartoon Violence. The official description is as follows: This is platformer game in which players assume the role of Pac-man on a quest to rescue his friends. As players traverse 3D platform environments, they can collect items (e.g., dots, fruits), use a dash and bounce attack to defeat skeletons, and collect power pellets to eat ghosts. Enemies generally disappear in a puff of smoke when defeated. In some sequences, players can pilot a spacecraft to shoot down enemy ships in arcade-style fashion.

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

Deaf and Hard of Hearing Gamers: Subtitles and visual cues are present, but cannot be adjusted. This game is fully accessible without sound as no audio cues are relevant to successful play.

Remappable Controls: The controls can be remapped.

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HIGH It’s a charming, breezy platformer. 

LOW Voice acting that borders on unintentionally hilarious. 

WTF Why is the first boss harder than the rest?

At this point, platformers are comfort food.

Every year, a few titles in the genre provide a breezy experience that takes me back to my childhood, and the subgenre of ‘3D mascot’ throwbacks is one that means the world to me. I’ve reviewed plenty, from major franchises to new faces, and all of them have one thing in common — they’re trying to recapture the magic of the era when this style was king, and Kao the Kangaroo is the latest.

A reboot of a once-dormant series from Polish developers Tate Multimedia, players control a young kangaroo named Kao (pronounced “K.O.”) as he ventures forth to save his dad and sister from a great evil known as the Eternal Warrior. 

Played from a third-person perspective, players move in 3D space as they jump to and from various platforms, solve simple puzzles and fight enemies across different worlds. Kao is equipped with boxing gloves that can be imbued with certain elemental powers, allowing him to do things like melt ice walls with fire or freeze water with an ice punch. 

Gameplay-wise, it’s a boilerplate platformer — which I have a love for! Moving around feels great, and I love the perfect balance between having to time precise jumps in some areas while also being free to explore environments without danger in others. There are a couple of hub worlds, each of them taking place in different biomes. In each of the hubs, levels are gated by progress like most collect-a-thons, and the main MacGuffins here are a series of runes that open the next level when enough are collected. 

Each level is a simple, linear course in which players must reach the end, and along the way there are enemies to fight. Combat plays a big part in Kao, and the game introduces several abilities. Punching feels satisfying, as does a finishing blow that can wipe out a whole group of enemies. A dodge roll helps if a wave of baddies gets too overwhelming, and an aerial tail whip lets players launch projectiles back at enemies.

It’s not the deepest combat in the world (and I would’ve liked a combo meter to heighten it) but I like that it harkens back to platformers like Jak & Daxter in which fighting was just as important as platforming. That said, the challenge is very approachable, with no true difficulty spikes and a generous amounts of lives and hearts. 

Every level also has secret paths and collectibles, like coins that can be used to buy outfits (including Kao’s classic look from the early games), Donkey Kong Country-style letters that spell out K-A-O, and more runes. Completionists will have a great time combing through every inch of the worlds, and I still have plenty to go before I hit 100%. 

With such solid gameplay, I’m glad to see that the style is just as solid. Every level has a cool motif — for example, the jungle world is basically a juice plant run by monkeys wearing construction uniforms. Different enemy types have cool designs, and the entire game sports a bright, colorful aesthetic that would feel right at home as a mid-’00s PS2 release.

While Kao the Kangaroo scores on many levels, my main issue is with its voice acting. While I wasn’t expecting much from what is clearly a ‘budget’ title, the voicework left a lot to be desired. There’s a lot of stiff, wooden delivery here, and it’s not helped by a script that leans too hard on jokes that don’t land and strange pop culture references that feel very out of date.

While I can’t say that it brings anything even remotely revolutionary to the table, Kao the Kangaroo still manages to deliver a jolly time. Those looking for a cozy romp full of charm and classic platforming should absolutely order up a serving of this delicious comfort food.

Disclosures: This game is published and developed by Tate Multimedia. It is available on PS4\PC, XBO/X/S and Switch. This copy was obtained via publisher for review and was reviewed on PS5. Approximately 8 hours were spent in single-player and was completed. There is no multiplayer.

Parents: According to the ESRB, this game is rated E10 for Animated Blood, Fantasy Violence, and Comic Mischief. This game is perfectly fine for young children. Violence is about the same level as most kids’ cartoons and the crude jokes aren’t that bad either. 

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

Deaf and Hard of Hearing Gamers: I spent most of my time playing the game on mute and found no issues. Everything has some visual cue, though subtitles could not be resized.  In my view, this game is fully accessible.

Remappable Controls: The controls cannot be remapped.

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