HIGH Fantastic combat system that is both modern and an homage to classic RPGs.

LOW Sluggish pacing in the middle chapters.

WTF “How about a hundred smacks on the ass?”

About a month ago I started seeing buzz online for Trails in the Sky 1st Chapter.

The Trails/Legend of Heroes series, despite its vast library, is one I knew very little about, but this remake of the first in the series seemed to check a lot of personal boxes — realtime combat that transitions into turn-based, a captivating art style, and a high fantasy setting harkening back to classic JRPGs. So, I booted up the free demo, and by the end of its generous eight-hour playtime, I was completely hooked and thirsty for more. Trails in the Sky 1st Chapter is a beautiful RPG with top-notch combat, memorable characters, and also serves as a perfect entry point into the long-running Trails series.

1st Chapter follows the story of sixteen-year-old Estelle and her adopted brother Joshua as they aim to become top notch Bracers — people who help protect the citizens of Liberl from monsters, thieves, and any threats to the kingdom. Over the course of their journey, they will travel across the kingdom to aid as many people as possible while balancing each other out perfectly — Estelle is captivatingly optimistic and reactionary, while Joshua is more reserved and calculated. As they blossom into powerful bracers, so do their feelings for one and other.

The story Falcom weaves is a complex one commencing with Estelle and Joshua’s hunt for their missing father, which eventually matures into a struggle for military power, treason from within the government, and other powerful forces at work behind the scenes. When firing on all cylinders, Trails is captivating and engrossing, simultaneously balancing the intimate and personal story of two kids trying to find their dad, and the larger, more sophisticated political drama. However, I found myself disengaged in the middle chapters because the focus shifted off both these potent storylines, and more into side characters that are ultimately important to the overall plot, though they feel gratuitous during their runtimes. 

Besides the sluggish middle section, another issue is that each chapter tends to focus on two characters that will join in battle with Estelle and Joshua, but their residence in the party is short-lived as they always depart at the end of each chapter, leaving Estelle and Joshua effectively starting from scratch. Each of these side characters are memorable — from over-the-top traveling musician Olivier, to the mysteriously powerful swordsman Agate, the cast is top notch. However, it felt like just as soon as I got to know the characters on a deeper level, they would set off on their own journey.

That said, all of the intermittent party members reappear in an epically-bombastic final act that ties everyone’s stories together quite well, but the thickness of the middle chapters does lessen the overall experience. Also puzzling was that some of these itinerant characters have voice acting while Estelle and Joshua do not, which did occasionally pull me out of the immersion. 

What does remain engaging throughout 1st Chapter’s runtime is the phenomenal combat system. When approaching wandering enemies, players can enter into a basic, but effective real-time battle complete with normal attacks, dodges, and a special meter that charges over time. Once the enemy’s stun meter is full, the player will have a huge advantage when they enter into turn-based combat, which they can slickly switch into with the press of a button.

In the turn-based combat, characters will have a range of options at their disposal, with different resources for each. The key to successful battles is knowing how to balance spells and abilities, and also knowing how to correctly position party members. For example, some buffs and healing spells are only effective when party members are positioned near each other, but certain enemies might abuse this proximity with powerful AOE attacks. Understanding both party strengths and enemy attack patterns is crucial. 

In addition to a traditional level-up system and equipment management, Trails adds a deeper level of preparation to combat with the orbment system. Each playable character has the ability to equip an elemental quart into a total of six slots. Depending on the element of the quartz and its proximity to other quartz, the character can obtain varying spells to use in battle. For example, equipping a water-based HP quartz will give the character healing spells, while a water-based mind quartz will give the character an offensive aqua attack. As the adventure progresses, players will obtain more powerful quartz to create incredibly powerful offensive and defensive spells. The level of customization here is high, and finding the correct quartz for each character is enticing. (There’s is also an auto-equip for those who want to enjoy battles without too much experimentation.) 

The world of Liberl is one brimming with history — it’s filled with collectable books that outline how the kingdom came to be, and mysterious towers hint at the many wars and struggles the country has endured. Trails does a great job at making the land feel lived-in and real, though I do wish the environments were a little more varied when exploring. The sun is always shining brightly over the samey-looking rolling meadows, with the occasional cave or forest thrown in.

Overall, I truly enjoyed my time with Estelle, Joshua, and their many companions in their quest to become senior bracers. Falcom does a commendable job creating a world and story that feels real for the majority of its runtime, despite a few occasional stumbles. As a newcomer to the series, the combat system captivated me from the first battle and never let me go. Trails in the Sky 1st Chapter feels like a classic JRPG I might have grown up playing, yet produced in a modern and nuanced way at the same time. Thanks to the obvious pride and care put into this remake, consider me the newest fan of the Trails series. 

Rating: 8 out of 10

Disclosures: This game is developed by Nihon Falcom & Nihon Falcom Corporation and published by GungHo Online Entertainment America, Inc. It is currently available on Switch/Switch 2, XBX/S, PS5 and PC. This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 39 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 T and contains Blood, Fantasy Violence, Language, Suggestive Themes, Use of Alcohol and Tobacco. The official description reads: Trails in the Sky 1st Chapter is rated T for Teen by the ESRB with Blood, Fantasy Violence, Language, Suggestive Themes, and Use of Alcohol and Tobacco. This is an action role-playing game in which players assume the roles of adopted siblings searching for their missing father. From a third-person perspective, players explore a kingdom, interact with characters, complete missions, and engage in battle with human and fantastical enemies (e.g., plants, robots, soldiers). Players use swords, staffs, guns, and magic spells to attack enemies. Players can use special moves that depict brief cutscenes of the attacks. Combat is highlighted by colorful light effects and impact sounds. Still-images sometimes depict bloodstains near bodies and on characters’ faces/clothing. One female character is designed with a somewhat revealing outfit (e.g., deep cleavage) and breast-jiggling effects; some camera angles focus on her chest. Story elements also allude to a romantic relationship between adopted siblings (e.g., struggling with their feelings, kissing). One scene depicts two characters under the influence of alcohol (e.g., flushed faces, slurred speech), with accompanying dialogue (e.g., “Come and drink with your big sister. You drink or I bring the whole place down”; “Wow, I really drank. Feels like it’s been forever since I last got to cut loose.”) One character is seen smoking a cigarette, and a side mission involves finding stolen cigarettes. The words “sh*t” and “a*sholes” appear in the game.

Colorblind Modes: There is no colorblind mode.

Deaf & Hard of Hearing Gamers: This game offers subtitles, though they are not resizable. Audio cues are not needed for progression, making the game fully accessible. 

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

The post Trails In The Sky 1st Chapter Review appeared first on Gamecritics.com.

HIGH Creative, thought-provoking worldbuilding that I will not soon forget. 

LOW A music-based game that forces players to dodge off beat still feels counter-intuitive. 

WTF Videogamedunkey is in this?? 

When I first started writing for GameCritics, one of the first titles I had the pleasure of reviewing was a strange looking title called Everhood. 

In my time with it, I was flabbergasted by Everhood’s commitment to storytelling, larger than life philosophical themes, and moral ambiguity — all of which have stuck with me. Four years later, when I saw Everhood was receiving a sequel, I jumped at the chance to see what else developers Jordi Roca and Chris Nordgren had up their sleeves. I’m happy to say, Everhood II takes all the successful elements of its predecessor, dials them up to eleven, and creates a superb experience that oozes with personality, comedy, and mystery. 

Everhood II takes its protagonist into a realm past death, riddled with danger and mind-bending realities. The player will befriend an enigmatic raven who encourages them to defeat an entity known as the Mind Dragon in order to escape this perilous dimension. Along the way, the player will travel across space and time, meet zany characters, and make critical decisions that will impact not just their story, but the entire cosmos. 

Though all of this sounds far-fetched, one of Everhood II’s greatest strengths is its cryptic, yet thought-provoking worldbuilding. Each of the realities the protagonist will visit feel lived-in, and are filled with memorable characters. From a battlefield decimated by the war between fruits and vegetables, to a digital circuit board riddled with viruses, exploring each setting without knowing who was truly friend or foe always kept me engaged.  

The main hook at the start is fighting against the initially-overpowered Mind Dragon, and upon the player’s defeat, traveling back to previously-visited worlds that will allow the protagonist to get stronger and more prepared for an inevitable rematch. However, each time a world is revisited, it changes drastically. Whether it’s the passage of 1000 years, or a town that once celebrated you as a hero but has now come to see you as the enemy, the choices made in-game will greatly affect the setting of the next environment, and perhaps the overall arc of the story itself, highly encouraging multiple playthroughs!  

Music-based combat as a concept remains mostly unchanged from the first Everhood. The player is on a five-note grid, and will have to dodge, absorb, and reflect incoming notes from their enemy. Though I found the musical tracks in the first installment to be mildly underwhelming, Everhood 2’s soundtrack is filled with psychedelic tunes that get the blood pumping with synth-based choruses when they’re not perfectly reflecting the personality of the opposing foe. 

However, the main issue I had with the first Everhood‘s battle system remains unchanged here in the sequel. Though the opponent is hurling notes in time with the music, it’s the player’s responsibility to dodge these notes when they arrive, and they’re usually off beat. There were times where I felt it was difficult to fully resonate with the music because I intuitively wanted to press buttons in time with the tunes, but succumbing to this urge would lead to my untimely death.  

Also, for an experience so entangled in its philosophical themes, music isn’t central to the plot, so it begs the question of why this combat system was picked in the first place. 

Apart from my modest frustrations with the combat system and a few too many time-shattering events to keep track of by the time I made it to the endgame, Everhood II is a triumphant follow-up to an already strong title. I will not soon forget the chaotic worlds visited, the eccentric friends made along the way, and the thought-provoking questions raised by my travels through the spirals of time. 

Rating: 8.5 out of 10 

Disclosures: This game is developed by Jordi Roca and Chris Nordgren and published by Foreign Gnomes. It is currently available on Switch and PC. Copy of the game was obtained via publisher and reviewed on the Switch. Approximately 12 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes. 

Parents: This game was rated E+10 by the ESRB, and it contains Fantasy violence and mild blood. Themes of death, conflict, morality, and philosophy are intricately woven into the game’s core. I wouldn’t recommend the title to anyone younger than their early teens. 

Colorblind Modes: There are no colorblind modes, but there is an image sensitivity mode for those who might be sensitive to flashing lights or bright colors. 

Deaf & Hard of Hearing Gamers: The game is fully subtitled. Though the speed of the text can be changed, the size cannot. The game is music-based, and though one could get away with playing it without sound, that lack of audio input adds another level of difficulty to the combat.

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

The post Everhood 2 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 Dual worlds means tons more exploration and replay value. 

LOW Trying to run both Axium and Umbral does lead to performance issues. 

WTF Running through Umbral with a horde of enemies giving chase is terrifying. 

Another year, another soulslike…. Although these days it seems more like we get one every few months.

Notables this year include titles such as Lies of P and Wo Long trying and capture the elusive FromSoft magic. Lords of the Fallen, the sequel to a 2014 title of the same name, joins the list as the latest competitor trying to make itself stand out from an ever-more-crowded field of Dark Souls emulators. And yes, it does a solid job of creating mechanics that make it feel unique its kind — particularly in its exploration — and make this a strong option for those craving that good ol’ punishing action-RPG.  

Anyone familiar with the soulslike genre will quickly get the gist — a mysteriously vague plot happens in a creepy world, various starting classes support different playstyles, defeated enemies bestow currency that allows the player to level up but will be dropped if the player falls, and of course, lots and lots of dying. However, the mechanic that sets Lords of the Fallen’s apart from its contemporaries is the ability to switch between the Axium and Umbral worlds.

Axium acts as the ‘normal’ world, and Umbral is a dark world filled with death and undead creatures that are only visible with the player’s magic lantern. The two worlds sit on top of each other, meaning the player will have to switch back and forth between the two to explore, solve puzzles, and progress. If the player dies in Axium, instead of being transported back to the nearest save point, they will be forced into Umbral, and will only lose their EXP if they perish there. 

I love the concept of the dual worlds, as it essentially doubles how much of the game there is to explore. For example, If the player encounters a broken bridge in Axium with no clear way of passage, they can pull out their lamp to see if there’s a way to progress within Umbral before deciding to shift worlds.

However, passing into Umbral is a calculated risk beause once there, the player cannot get back to Axium without reaching a checkpoint, and the more time spent in Axium, the stronger and more persistent the enemies become. For those who tarry far too long, they’ll be visited by the Red Reaper — and trust me, you don’t want the reaper to show up. All of these factors raise the stakes and create a palpable sense of anxiety that perfectly reflects Umbral’s haunting décor.  

Unfortunately, Lords of the Fallen’s greatest strength leads to its biggest downfall — technical issues.

Though Lords of the Fallen is solid-looking most of the time, shifting back and forth between the dual worlds leads to relatively frequent framerate drops, especially in chaotic areas with many enemies. While it wasn’t game-breaking on my PS5, it was distracting and occasionally disruptive to the flow of combat. 

Speaking of combat, the usual tropes of light and heavy attacks, magic, dodge rolls and parries are all present here, and they meld into an engaging system. I started my journey with the intention of building a melee/magic hybrid build, but after discovering how generous the dodge roll timing was, I found myself just hacking away with my sword. That said, one interesting mechanic is the ability to pull enemies’ souls out of their bodies using the magic lamp, which will then freeze the opponent and allow the player to deliver attacks to their astral body. This is an excellent ranged option, and a nice way to rack up some damage. 

Bosses are big, gaudy and intimidating, but ultimately not as frightening as their exteriors might suggest. Due to similar timing cadences, telegraphed strikes, and a very good dodge roll, I rarely encountered a boss that I couldn’t down with a little patience, nor did I ever feel overwhelmed to the point of hopelessness as I sometimes do in this genre — although that isn’t the worst thing in the world! 

My last qualm is the lack of remappable controls. I know many early soulsborne titles didn’t support this feature, but now, in the year 2023 where accessibility is more important than ever, I should be able to play a complex action RPG such as this with whatever controls allow me to enjoy the experience the most.  

If one can look past the technical limitations and lack of control customization, Lords of the Fallen is a strong addition to the soulslike catalogue. With solid combat and fascinating, multi-layered exploration, not only does Lords of the Fallen do enough to stand out from a crowded field, it manages to be a great game for those with a Dark Souls itch to scratch. 

Score: 7.5 out of 10   

Disclosures: This game is developed by Defiant Studios and Deck13, and published by CI Games. It is currently available on PC, PS4, PS5 and XBO,XBS. This copy of the game was obtained via publisher and reviewed on PS5. Approximately 20 hours of play were devoted to the single-player mode, and the game was not completed. 

Parents: According to the ESRB, this game is rated M and contains Blood and Gore, Partial Nudity, Strong Language and Violence. From the ESRB: “This is an action role-playing game in which players assume the role of a knight on a quest to defeat an evil force. From a third-person perspective, players can travel between fantasy realms to cleanse lands of demonic creatures. Players use swords, spears, hammers, crossbows, and magic to kill monsters in melee-style combat. Battles are highlighted by sword slashes, explosions, and cries of pain. Large blood-splatter effects occur during combat; some areas depict large blood stains, severed limbs, and impaled torsos. One sequence depicts a character disemboweling himself with a sword, with entrails hanging from his open torso. In a handful of scenes, nude bodies/corpse piles appear, with depictions of exposed buttocks and groin areas (no genitalia). The word “f**k” is heard in the game.”

Colorblind Modes: There are no colorblind modes available.  

Deaf & Hard of Hearing Gamers: Yes, subtitles can be altered and/or resized. Though audio cues can be helpful to decipher when an enemy is approaching, they are not mandatory for progression, making this title fully accessible.  

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

The post Lords Of The Fallen 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 Am I allowed to say… everything?

LOW Backtracking can be very time-consuming.

WTF I wish Garl was my friend in real life.

Every so often, a game comes along that transports me to another world — a world filled with whimsical storybook adventure, danger, charm, and wondrous mysteries. It’s the kind of world where I end a play session, look at the clock, and realize hours have effortlessly flown by. Sea of Stars, a stunningly triumphant second entry from Sabotage Studio, is one such videogame that can be feasted upon and savored by gamers of all backgrounds. 

Centered around heroes Valere and Zale, solstice warriors born with the purpose of using their sun and moon magic to protect the world, Sea of Stars may seem like a typical fantasy RPG based on the story’s elevator pitch. But even in its early stages, it’s apparent Sea of Stars has far more life, charm, and imagination poured into it than many of its contemporaries. Valere and Zale are not lifeless “hero of destiny” archetypes, but instead they’re dynamic, charming siblings that grow and change. Along with their best friend Garl, the three will have colorful and imaginative adventures.

Sabotage Studio intended for Sea of Stars to be a retro-inspired turn-based RPG, evoking the likes of 16-bit touchstones Chrono Trigger, Super Mario RPG, and Dragon Quest. The presentation is a smash hit, with its incredible pixel-style art bringing detail and personality to the characters, and whimsy and grandeur to the environments. Every new area looks miraculous, and the variety is truly spectacular. Not to mention, it boasts a stellar soundtrack that feels retro while bringing modern orchestrations and melodies. It even features a few tracks from Chrono Trigger composer Yasunori Mitsuda!

Much like the soundtrack, combat feels akin to a ’90s RPG, but has twists that make every battle an addicting puzzle. For example, every attack has a different affinity, ranging from sun, sword, poison, moon, and more. Enemies commonly use normal attacks, but their stronger moves can be “broken” by using the affinities that appear above their head while preparing an onslaught. However, only certain party members can attack with certain affinities, forcing the player to think critically about the next few turns ahead. Fortunately, being able to switch between party members freely without losing a turn — a very underused mechanic in other titles — allows the player to experiment with this system in conjunction with all of their party members, not just the three who are on-deck.

Attacks are made stronger and opposing hits weaker by timed hit of the A button as soon as the character makes contact with a foe, adding a bit of skill into the combat. Also available are a wide variety of skills such as attacks that hit multiple enemies, healing spells, and defensive maneuvers, as well as bombastic combos which can only be used when two specific characters are on the field. Managing each character’s MP for skills as well as the meter for combo attacks turns every encounter into an engaging chess match.

Breaking up encounters is world traversal and puzzles. By using skills such as wind magic to move road blocks and a grappling hook to dash across large distances, traversal, though not overly complicated, is enjoyable in a world with countless mysteries to uncover. Puzzles strike a fine balance between never being too complicated or outstaying their welcome, while simultaneously forcing the player to think critically about their surroundings and the mechanics of the area of the world they’re in. 

Though Sea of Stars has no set difficulty options, the challenge can be manipulated to the player’s liking through relics — collectable items that can be switched on or off. Ranging from relics like one that reduce the amount of damage taken or one that gives feedback for timed hits in combat, these relics can be mixed and matched to create an ideal style for any player. 

When I reached the conclusion of the campaign, I was pleasantly surprised to find Sea of Stars has tons of postgame content that kept me busy for hours after the main story ended. With tons of collectibles, secret bosses, and ultimate weapons to uncover, I was stunned with Sabotage Studio’s above-and-beyond efforts to build Sea of Stars’ world even after credits rolled. Those willing to complete all post-game quests will be rewarded with the true ending, which… well, no spoilers, but I will say it was worth the effort.

Though a phenomenal experience overall, there are a few quality of life options that Sea of Stars could have provided to make the experience slightly more streamlined.

The map is rather rudimentary, making it difficult to find settlements or specific areas if I needed to backtrack. Enemy weaknesses and abilities are not displayed anywhere, and though the player can purchase an expensive relic for in-depth enemy information, I would have loved to see certain information pop up next to an enemy for convenience. Finally, getting from one corner of the map to the other is time-consuming until late in the campaign. Not that there needs to be fast travel, but backtracking can be cumbersome when trying to find collectibles or when thoroughly exploring past areas. These issues never detract from Sea of Stars’ experience, but would have smoothed out the barely noticeable rough edges.

Sea of Stars is an outstanding RPG experience that, for me, has become an instant classic. Story elements, combat, and worldbuilding all feel simultaneously retro-inspired and deeply innovative. I am floored with the creativity, wonder, and life Sabotage Studio poured into their second game, and I cannot wait to see what they have in store for us next. Until then, whether you’ve played hundreds of RPG’s or if this is your first, Sea of Stars is a must-play.

Score: 9.5 out of 10

Disclosures: This game is developed and published by Sabotage Studio. It is currently available on Switch, PC, PS4, PS5, and XBO/X.This copy of the game was obtained via publisher and reviewed on the Switch. Approximately 27 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: According to the ESRB, this game is rated E and contains Fantasy Violence, Mild Blood, and Mild Language. The rating summary from the ESRB reads: “This is an adventure role-playing game in which players assume the roles of two protagonists fighting off an evil alchemist. From a ¾-overhead perspective, players explore environments, interact with characters, and engage in turn-based combat against enemies (e.g., wizards, undead creatures, spirits, warriors). Players use swords, knives, staffs, and magic to attack small enemies. Battles are highlighted by impact sounds, colorful light effects, and explosions. A handful of levels depict pixelated, non-detailed organs/organic matter in the background; monsters sometimes have red scratch marks, open wounds, red stitches on their bodies. The words “damn” and “hell” appear in the game.”

Colorblind Modes: There are no colorblind modes available.

Deaf & Hard of Hearing Gamers: This game dialogue is conveyed exclusively through subtitles, which cannot be altered and/or resized. Though audio cues might be slightly helpful for timing certain attacks, they are not needed for gameplay. This title is fully accessible.

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

The post Sea Of Stars Review appeared first on Gamecritics.com.

From Cocoon’s opening moments, it was apparent this upcoming puzzle game from Geometric Interactive masterfully conveyed an ambiance of mystery and dread. Emerging from a cocoon in a desolate desert ecosystem, the player assumes control of a nameless bug-like creature, and without so much as a prompt of what to do or where to go, I was set free to roam the abandoned landscape.

Soon after our bug hero’s outset, I found myself confronted with my first set of puzzles. The challenges in Cocoon usually involve getting from point A to point B, but due to the protagonist’s inability to jump or climb, it requires the player to create series of platforms and bridges to provide safe crossing. Our bug hero is able to carry small orbs on his back, which can (depending on the type of orb) move platforms and open doors. As things progress, orbs can be gifted with special abilities such as creating invisible platforms, or moving to the top or bottom of vertical stones.

While these puzzles are clever, Cocoon’s greatest mechanic, and biggest shock, is the realization that the desert world the bug has been exploring is simply a diorama inside an orb. Perhaps ten minutes into the voyage, the player will be able to set down an orb in specific location, and they will be transported outwardly into an ominous factory-like locale. Making the discovery that all the orbs are different worlds that our hero will be entering and exiting, and that Cocoon’s larger goal will be discovering the mystery of this strange factory, is an exhilarating one to make. 

Not only is this surprise fantastic and makes Cocoon stand out, it opens up a world of possibilities for its puzzles. Many areas will require the player to jump in and out of various orbs, shifting from the desert area, back to the factory, and perhaps even a third terrarium to navigate around barriers, and transport multiple orbs in and out of different zones.

At the end of each orb’s world is a boss functioning as a real-time puzzle, forcing the player to analyze their movement patterns and determine a way to fight them. Since our bug has no attacking ability, players will need to find environmental weapons in each confrontation in order to harm a boss, and the player will get booted back out to the factory if they get hit, making even the smallest mistake costly. However, getting kicked out doesn’t completely restart the battle, as upon reentry I was able to pick up my progress wherever I left off.

From my time with Cocoon, I can tell there are incredible possibilities via its mindbending puzzles and cryptic storytelling. The ability to leap in and out of multiple worlds to solve a single puzzle is tantalizingly complex, and uncovering the truth of the mystifying factory is one I look forward to uncovering. 

Cocoon releases tomorrow, September 29th, on all major platforms!

The post Cocoon Preview 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 P3‘s gripping story and mechanics still shine bright seventeen years later. 

LOW Why port the portable version instead of FES?

WTF That. Final. Boss.

With the widespread success of the stylish and addicting Persona 5, the once-niche Persona series has blossomed into a videogames mainstay.

Persona 3, widely regarded as the first modern Persona and the first in the series to take dramatic steps away from Shin Megami Tensei (Persona’s origin series) has recently become available on modern consoles for the first time. Though I have questions about the port itself, it is undeniable that Persona 3’s story, characters, and combat stand the test of time, creating what is arguably the deepest and must gut-wrenching narrative in the franchise. 

Persona 3 chronicles the deeds of a group of high schoolers known as the Specialized Extracurricular Execution Squad (SEES) who attend classes, hang out, go on dates, and eat tons of ramen by day. But by night, they ascend the perilous tower of Tartarus in an effort to end the mysterious “Midnight Hour” which threatens the existence of the human race. You know, typical high school stuff.

Persona 3’s daytime activities are confined to point-and-click dialogue story events, while nighttime has the SEES endure third-person dungeon crawling and turn-based battles. 

When the sun is up, the player will work on raising social stats, such as academics, charm and courage. Raising these will enable the player to engage in social links — one on one interactions with other characters, who in turn allow the summoning of stronger personas (uh… think of them vaguely like pokémon from different mythologies) for dungeon crawling. However, the player only has so much time during the day and can easily miss out on leveling these social links if they don’t plan carefully.

Raising social link levels not only rewards the player by aiding in dungeon crawling, but the writing in these scenes is real, touching, and heartbreaking. From an elementary school girl caught up in the middle of her parents divorce, to a young man diagnosed with a terminal illness struggling to find meaning in his short life, Persona 3’s social links offer a cast of deeply-crafted characters I will not soon forget. 

Once the protagonist is done with classes and hanging out with friends, it’s time to dungeon-crawl in Tartarus, the 264 floor mega-dungeon. Each floor is procedurally generated, and scattered throughout are enemies, treasures, and a climactic boss-fight every ten floors or so. Though it does get a tad repetitive later in the campaign, it feels rewarding to slowly chip away at the massive tower and uncover what dangerous foe or concealed secret might be laying ahead as SEES climbs higher and higher. 

Turn-based combat is intuitive, deep, and addictive. With eight party members to choose from and nearly 200 personas to use, the battle system is highly customizable. To get the upper hand in battle, the player must target an enemy’s elemental weakness, whether that be fire, ice, or any one of many other affinities. Once all enemies have been struck with their weakness, the player can perform an all-out attack, dealing massive damage in the process. However, as P3 progresses, enemies — and especially bosses — have no weakness, which turns battles into complicated endurance tests requiring buffs, healing, and creative opportunities to deal meaningful damage. 

The central theme is as gripping as the combat and social links. Persona 3 is about death, finding meaning in life, and what we do when we, or loved ones, are confronted with the inevitable end. I won’t say much for fear of spoilers, but as the plot progresses towards its climax, the themes in both the main story and social links culminate in a stunning conclusion that ties the entire experience together and left me with tears streaming down my cheeks. 

Persona 3 originally released on the PlayStation 2 in 2006. A year later, an expanded version called Persona 3 FES was released. However, FES is not the version that was ported to modern consoles. Instead we have Persona 3 Portable which debuted on the PS Vita in 2009 — an iteration which doesn’t include much of FES’s additional content.

It’s a bit of a head-scratcher as to why Atlus decided to port Portable as opposed to FES. Additional content aside, Portable’s daytime segments are unfortunately confined to point-and-click ventures, rather than being able to physically run around Japan’s 3D environments. It doesn’t hinder the story, but it certainly makes things feel slightly lifeless. Not only that, but backgrounds, certain sound effects, and some textures haven’t been cleaned up in the way one would expect from a port in 2023. I would have much preferred a remaster of FES interwoven with Portable’s quality of life improvements. 

Though I’m a bit disappointed that Atlus didn’t create a truly definitive edition of Persona 3 for modern audiences, this game remains one of the best RPGs I’ve ever played. With its masterful use of storytelling and grandiose themes, the adventure fully immerses the player in both its life sim and dungeon crawling mechanics. In fact, not only did this game create the template that its successors still follow today, but it also might just be the most memorable and thought-provoking Persona overall. Despite the shortcomings of the slightly outdated portable version here, it is undoubtedly a must-play for any RPG fan who hasn’t tried it yet. 

Rating: 8.5 out of 10

Disclosures: This game is developed by Atlus and published by Atlus and Sega. It is currently available on PC, PS4/5, XBO/S/X and Switch. This copy of the game was obtained via publisher and reviewed on Switch. Approximately 48 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.

Parents: According to the ESRB, this game is rated M and contains Blood, Language, Partial Nudity, Sexual Themes, and Violence. The official description reads as follows: This is a role-playing game in which players help high-school students investigate a mysterious tower that appears only at midnight. During the day, players interact with classmates, teachers, and town characters, gaining social links to improve relationships and abilities. At night, players explore the tower and engage in battles against human enemies and fantastical creatures (e.g., shadows, demons, spirits) in turn-based combat. Players select weapon and magic attacks from summoned persona creatures to kill enemies; battles are accompanied by impact sounds, gunfire, and cries of pain. Large bloodstains are depicted on the ground and walls of some environments. The game contains some sexual material: female demons with partially exposed breasts and buttocks; a creature with a phallic-shaped head and torso. Some demons (e.g., succubus, incubus) have sexual characteristics that are described in text (e.g., “They visit sleeping men/women and have sexual intercourse with them”; “Like their mother, they have sex with men at night.”). The word “sh*t” appears in the game.

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

Deaf & Hard of Hearing Gamers: Dialogue in the game is subtitled, which cannot be resized. Audio cues are not necessary to progress, making this game fully accessible.

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

The post Persona 3 Portable (Switch) 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.

The post Kukoos: Lost Pets Review appeared first on Gamecritics.com.