Cory Clark

“The itch for logic and working out solutions rarely strikes truer than 3D puzzle games, and The Talos Principle: Reawakened is the perfect place to start with the series. The eureka moments still hit just like they did, and the learning curve is even more buttery smooth than its first iteration. Newcomers will find a delightfully refreshing spin on puzzling and philosophy, while veterans will get to have their need for challenge satisfied with the tastefully sized expansion called In the Beginning. It’s unfortunate that the level editor isn’t in this version and that there are a few framerate kinks to work out, but neither of these issues hamper the experience much. Between much-needed QOL and delightful developer commentary, there’s hardly been a better time to dip your toes in The Talos Principle.”

“MiSide’s gonna be remembered for a while as a horror great, with the lunacy of Crazy Mita bringing a potent take on the classic yandere formula. The art of microdosing emotional attachment before prepping for the kill is so subtle, nervewracking, and harrowingly effective. Effortlessly dodging mood whiplash despite the wide gap between its horror core and fluffy, cozy dating sim front helps set MiSide apart as a strong title in the indie horror scene. Simple gameplay loops and puzzles compliment the harmless fun of hanging out with the various flavors of Mita and screwing around in the numerous delighful minigames packed in the five hour campaign. With pacing that’s fluid and balanced, MiSide’s simplistic little mechanics and gimmicks that wander in and out never overstay their welcome, and no one line or scene feels like wasteful filler. What really sells the package is how well it balances its thrill and mystery, going at a perfectly planned pace while giving the option to really chew on the extra worldbuilding details for the mobidly curious player wanting to sink their teeth in deeper. It can be easily forgiven for relying on some pretty familiar horror gaming tropes and mechanics when the execution results in such a smooth blend of the familiar while never forgetting to add that MiSide spice. For such a low price of admission to what’s one of the best damn indie horror games I’ve played in years, I think it goes without saying whose side I’m on.”

“Long Gone Days may not be the most engaging RPG in terms of its gameplay, but you’ll struggle to find another RPG this year with as much heart and passion for its subject matter. By focusing less on the huge conflict that serves as the backdrop, and instead focusing on the smaller, more touching tales of people going above and beyond to help one another through awful situations, Long Gone Days truly feels like nothing else I’ve played. Had the combat been a little more engaging, Long Gone Days would absolutely have been a better time, but even as it stands, it’s a title that excels enough in everything else it does and is well worth experiencing.”

“DLC can vary wildly in length, and just because the added content is short doesn’t always mean it’s not worth checking out. Cassette Beasts: The Pier of the Unknown is, unfortunately, far closer to the lean side. But beyond its brief runtime and some same-y boss fights, it still managed to tick off most of the boxes of things I was looking for. There are a few interesting new monsters to transform into, Archangels to battle, and some challenging platforming to make this eerie expansion a worthwhile experience for the spookiest month of the year. That said, here’s hoping this is just the first hint of potentially larger DLC to come in the future, because the short length certainly has me wanting more.”

“For all intents and purposes, if you want a blast from the past with a hidden twist all wrapped up in a tidy little package, I Doesn’t Exist is harmless enough that I’d recommend the venture. Just temper your expectations a bit and have some patience set aside for the text-input side of I Doesn’t Exist. After all, who knows when the next time will be that we’ll actually see someone using text-adventure gameplay again.”

“Ultimately, High on Knife‘s tale of a wayward Knifey was full of fun characterization combined with a brief but satisfying story. The new pinball-themed gun is a hit, and Knifey’s special upgrade needs to be seen and experienced for yourself. With any luck, we’ll see some more DLC down the road, and hopefully then, Harper will be left behind.”

“I really want to emphasize that no matter what score I give, respect should be given to any developer striking it out solo, with Alex being no exception. The visuals are damn good-looking for an indie effort, and the core gameplay is shockingly solid for being a blend of FTL and XCOM. I see so much room for a game like this to grow and develop, and I’d even go as far as to say I’d gladly go another round if there were a few fixes for the lack of checkpoints, laggy ship transitions, and a bit more depth added to the gameplay. Sadly, Space Cats Tactics in its current form doesn’t stray much farther from general tactics roots, and the characters, while cute for the first few minutes, don’t evolve much more from there, either. If you can work around that and some rather irksome bugs and glitches, I really do encourage giving this a run for being something rather unique in its field, if not to give some support to a solo dev that really has passion put in his project.”

“You’ll be hard-pressed to find a lot of games quite like Invector: Rhythm Galaxy, and this is the kind of dopamine injection I feel the genre was in need of for a while. The feel of sweeping across alien landscapes with some sick tunes in the backdrop while handling fast and furious rhythm action all flows so well together… once you get the hang of doing it. If you’ve dived into ship-based rhythm romps like Audiosurf and Amplitude, you’ll be happy to know that Invector: Rhythm Galaxy is right up that same alley, and is absolutely just as much of a blast to play, doing exactly what these types of music/rhythm games do best.”

“Supraland: Six Inches Under skillfully dodges the “more of the same” problem, introducing a generous amount of fan-favorite tools and mechanisms while also offering a couple more additions that spice up the deep, cavernous dives you’ll be working your way through. The biomes are still as colorful and varied as the base game, and if you’re eager for more of Supraland’s toy-sized world, you’ll get that and then some, all wrapped up in about 8 to 12 hours of solid, fun gameplay that plays exactly like it’s advertised. Goes to show you don’t have to reinvent the wheel; just find new places where that wheel rolls. Just keep an eye out if the save system seems like it’s on the fritz, and do mind the cursor-based menu navigation. After all, it wouldn’t be a proper spelunking journey without a few hang-ups.”

“Even though the game’s balancing and AI issues try their best to spoil the fun, ArcRunner still manages to deliver a satisfying cyberpunk roguelike experience. Despite its shortcomings—and they are plentiful— it can feel great to give into the temptation to jam to some synthwave and gun down some nameless bots for a few hours. It’s just a shame that, apart from the killer aesthetics, there isn’t much to compel players to return to its neon-saturated streets once they’ve finished their initial playthrough. That said, if you’re looking for an in-depth approach to the familiar roguelike formula, you might want to look elswhere. Which is a shame, since ArcRunner offers a fairly decent gameplay loop along with a striking cyberpunk playground to go with it. If you’re looking to soothe that very specific aesthetic itch ArcRunner scratches, by all means, go for it and indulge in the wavey synths and rain-slicked streets. Just know that your mileage may vary.”

“As long as you don’t let POST VOID short out your synapses, this really is one of the truest forms of FPS gameplay. If you long for a true drop-in, drop-out FPS game and don’t mind the wavey corridors and searing color palette, there’s so much fun to be had with just a semi-procedurally generated corridor maze, some wickedly warped baddies to kill as fast as you can, and a few RNG buffs here and there. POST VOID definitely won’t be a feasible trip for everyone, but if you can stomach the demanding gameplay and get a grip on the PS4 controls, you’ll probably wind up pretty hooked on this digital drug.”

“Alice Gear Aegis CS: Concerto of Simulatrix is welcome return to a genre long thought dead. And though this is still merely the first stepping stone, it’s going in the right direction, it just needs some room to grow and cultivate. The gameplay loop is quick but ever so fierce and memorable in design, and while not every one of the game’s playable Actresses is a star, there are more than enough for just about everyone to be able to sink their teeth into. So if you can forgive the game’s steep learning curve and are looking for the closest thing to Virtual ON to release in recent years, then look no further. Alice Gear Aegis CS will scratch that itch.”

“Little Witch Nobeta isn’t a Souls-like in the traditional sense, but that’s not necessarily a bad thing. Like a cunning crone, developer Pupuya Games have skillfully combined seemingly disparate ingredients to create something magical. Still, genre veterans may find themselves put off by the lack of challenge to be found in the title’s beginning hours, and the stark contrast between its whimsical protagonist and the grim world she inhabits can admittedly, at times, be a bit jarring. If these things don’t bother you and you’re a fan of Souls-likes who’s looking for something more forgiving, or perhaps a bit cuter than what you’d usually expect from the genre, Little Witch Nobeta is sure to leave you under its spell.”

“Rhythm Sprout is a seriously fresh serving of beats. It’s definitely recommended, on the understanding that you know what you’re in for. The music doesn’t stop often to rest, meaning neither will you, and while the gameplay seems barebones, it knows how to make itself just as involved as a more complex rhythm game. There’s absolutely something to simpler rhythm games as a fun romp for a couple minutes here and there, and I think that’s a precedent that was pushed well with Rhythm Sprout.”

“The Forest Quartet will get you into the swing of things. While I do wish The Forest Quartet would’ve pushed itself just a bit farther in the gameplay department, and the whole experience winds up on the criminally short side, it doesn’t fail to impress with what is there. With likeable and interesting characters, a soft but smooth graphical design, and a superbly soulful soundtrack, this is a short but sweet tale well worth saving for that rainy afternoon when you need a little comfort game.”

“While I went into 41 Hours fully expecting a single A experience, I struggled to find 41 minutes of enjoyment out of my review playthrough. I honestly don’t see any quick, feasible ways to fix 41 Hours either, as there isn’t much here that isn’t a mess. Between the game’s unnaturally accurate and overpowered enemies, graphics would barely be noteworthy on an Xbox 360, and a plot does little to spurn interest, I can’t help but feel this one came out of the oven 41 months too early.”

“I’m very ambivalent about Tower of Fantasy, but despite seeing quite a few flaws, I also see a lot of potential here. The attempts to riff on Genshin Impact and Honkai Impact 3rd wind up leaving some of the things it attempts to emulate feeling inferior to where it’s drawing inspiration from. That said, what it tries to do differently is help make a functional, stable platform from which Tower of Fantasy could truly start to grow from, and make something entirely fresh and unique from its competition. The exploration features, the Relic system, and even the weapon types are willing to come together and make something fun and unique, but it’s held back by a mostly lackluster world, bad story writing, annoying upgrade systems, and currency overload. I’d say go in strictly on Free-to-Play ideals, temper your expectations and focus on the things it does differently, and you’ll probably find something to like.”

“At the end of my hauntingly simple mission, I really wanted to walk out liking SENSEs: Midnight more than I did. There’s a great aesthetic, cool ideas, and some real potential with the fixed camera angles, but it’s all buried by bad stealth mechanics, a puddle-deep story, and horror disarming bugs and hiccups. Still, for its price point, consider giving it a whirl, at the very least to give some money to the developers because they seem like they really wanted to make something great here. I do hope to see a much more refined sequel in the future.”

“At the end of the game, I really felt like there could’ve been a lot more Quintus and the Absent Truth. The acting felt flat, the themes weren’t as fleshed out as they should’ve been, and the only truly scary thing here is how short the whole experience was. I really wanted to see this succeed, as the art style brought some unique potential, but sadly the experience needs a lot more refinement to be as interesting in execution as it was in premise.”

“It’s a real shame that I couldn’t find much to enjoy here, since there’s a good amount of potential here, but you’d think with such a fun theme and the mechanics at play, there’d be so much more life in this game. Maybe I went in with too high of expectations, maybe I wasn’t the target audience, but between the monotonous music that I eventually muted and the gameplay loop that tires itself out long before the cake’s done cooking, I really want to like this game more, but, to be honest, I can’t say I’m thrilled about playing this anymore. If you’ve played Super Mario and Donkey Kong, you’ve been here before. If you don’t mind that and just want some solid platforming to kill five or so hours, it’s harmless enough that I’d say go for it if it’s on sale. But otherwise, it’s reshades of the same thing, and this game doesn’t dare to tread much farther than those before it.”