As was the case in Crypt of the NecroDancer, rhythm infuses every action here.
The game crafts a dense, multilayered, and vibrant adventure set against memorable settings.
Antonblast winningly riffs on the platformers of yore.
The game is a brilliant rebuttal to those who think that politics have no place in video games.
The Plucky Squire knows how to always pick itself up and keep going.
When it isn’t tipping its hat to Yars’ Revenge, the game offers only simplistic platforming.
Sprint, slide, and parkour your way through a enemies in a game that forces you to get feral.
This is the most enjoyable (and gamified) medical evaluation you’re ever likely to receive.
Wukong excels at allowing players to feel increasingly like the Monkey King himself.
While Nobody Wants to Die is set in the far future, every inch of it relishes in the past.
With its unique design, Linkito stands apart from similar story-driven logic puzzlers.
The series splashes the screen with graphic battle sequences in a way that consistently advances the plot.
However obtuse it may seem at times, this absolutely thrilling game never feels unsolvable.
This game designed around words should have chosen them more carefully.
It’s easy to imagine Suda Gôichi out there taking notes on what this game has accomplished.
If only this tedious slow burn were in the service of communicating something unexpected.
As a whole, BIOMORPH doesn’t live up to the unique promise of its killer creature designs.
Showtime! is more like an audition than a full-length play.
The game’s roguelike structure mostly exacerbates the sense of “been there, done that.”
Everything in the game stylishly demonstrates its commitment to giving life to ecosystems.