Little Witch Nobeta is not for me, but then I’m not certain who it is for. It is a catastrophic fumbling of the bag with a narrative that makes no sense, combat that feels far too basic, puzzles that don’t even warrant a mention, and a distinctly unappealing target demographic. The only magic I want from Nobeta is a disappearing act.
While Treasures has high points, the low points outweigh them and leave the game a middling experience.
Rune Factory: Guardians of Azuma is a game of two halves. You have the village management where you’re decorating empty spaces and making numbers go up - this is the half that’s generic and shallow. The other half is a more-than-decent action-adventure populated with a pretty great cast.
Coffee Talk Tokyo is a handsomely endearing experience about listening to people and being there for them.
But a game is only as good as it feels to play, and this one too frequently asks you to fight its systems rather than inhabit them. The frustrations are not deal-breakers in isolation; cumulatively, though, they erode the goodwill that the presentation so diligently earns.
I have a love/hate relationship with Endless Dungeon. When it’s good, it feels excellent. The early-game progression is incredibly satisfying, filling out quest logs and completing pages of upgrades is rewarding, and it looks and sounds sublime. On the other hand, the lengthy runs take a toll, and once you get into the late game, the rate of progression doesn’t cut it anymore. Suddenly, the time invested doesn’t match up with the strength of the upgrades you can acquire, and the game feels very much like a Sisyphean task as originally intended, a punishment.
The Isle Tide Hotel is an uneven game. It delivers in its goal to tell some compelling stories about very interesting people and a cult that’s up to some incredibly odd behaviour, but the inarticulate efforts to gamify the experience may prove too frustrating for those not already enamored with the concept or the genre.
At this point in time, it takes a lot to stand out in a sea of Metroidvania action platformers. With its gorgeous presentation and memorable boss fights, Islets does just that. It has some of the tightest platforming I’ve ever experienced, but I felt that the unbalanced combat design drags it down. I really enjoyed my time with Islets - it took me around 12 hours to beat the game, and it certainly doesn’t feel like time wasted - and I’d recommend it to any fan of Metroidvanias, but I don’t think it has universal appeal.
Whether it’s a compelling personality will vary from person to person, but it throws so much at the wall that surely something will stick. The combat is excellent, the enemies are memorable, and the balance between macabre and levity is well-tuned. Despite the stumbling story, there’s enough bounty in the chaos to recommend this game.
But perhaps that’s the point. Pathologic 3 is about disease and friction and difficult choices. It is not a game for everyone, and it doesn’t try to be. It’s demanding and deliberately obscure, and asks you to embrace failure as part of its teaching method; that will put people off.
Dragon Quest Monsters: The Dark Prince is a mixed bag. On the one hand, it has the best mechanics and combat the Dragon Quest series has ever seen, with the monster-focused gameplay loop providing endless fun. On the other hand, overcommitment to the silent protagonist trope and shocking performance issues drag the experience down significantly. Although held back by dated hardware and dated design choices, The Dark Prince is one worth courting.
Full Void is on the short side, but that’s no bad thing. There’s only so much you can do to keep someone invested in a dystopian narrative that does little to explain the world it resides in, and this adventure thankfully provides mystery, suspense, and climax in quick succession. I clocked in at just under two hours and came away satisfied. While the metaphors at work err on the self-indulgent side and the gameplay is relatively shallow, Full Void delivers a memorable experience about how it feels to have your childhood ripped away by forces you can’t control.
Forspoken is a clunky game with awkward dialogue and characterisation, but the gameplay shines bright.
No Place for Bravery surprised me in many ways. When I first started, I was ready for a gory festival of combat with a good story to go along with it. What I got was a beautiful, dark narrative that pushed me to reach the end credits far more than the promise of combat would have. The things I loved most are things I can’t talk about in this review for fear of spoiling the experience - No Place for Bravery feels fantastic to play, and Glitch Factory has created a story that will stick with me for years.
Sunday Gold is a game with a lot to say, says it eloquently, and has an aesthetic and artistic direction that I’ve fallen in love with. However, it must be said that the execution leaves something to be desired - the game excels in set pieces, confrontations, and dialogues, but getting from one highlight to another is a bit of a slog. I’d play another game following Frank, Sally, and Gavin in a heartbeat, but I’d hope it flows much better than Sunday Gold.
There’s a lot to love about Potion Permit. It’s a game that, as mentioned, gives you a purpose, and does a great job of letting you experience the journey from total newcomer to heart of the community. It’s a perfect game for those seeking a relaxing, chilled-out experience - a tonic for a market filled with life sims that emphasise profit and efficiency. The only things lacking are a little difficulty to keep things interesting and some bug fixing to keep things running smoothly.
When comparing it to its predecessors, the game feels like a sorely needed update. Yes, it treads old ground, with the same crops, monsters, items, and mechanics to deal with, but you can’t really mess with a winning formula, and the game has plenty of worthwhile additions of its own. To sum it up, playing Rune Factory 5 is a compelling, joyous experience that its fans will devour heartily as if it were a plate full of Supreme Curry.
Reimagined solves that problem without sacrificing what made the original special. For series veterans, it's a chance to revisit a flawed classic in its best possible form. For newcomers, it's finally a reasonable entry point into one of the franchise's most rewarding narratives. And, for the first time, I can say I’ve finished DQ7 without needing a week of rest.
For new players, this is the perfect entry point. For veterans, it's a nostalgic and thrilling homecoming. This release stands as a testament to the enduring power of both the tactical RPG genre and the unique storytelling of Ivalice, and it has me more hopeful than ever for its future.
Without spoiling things, Star Ocean eventually devolves into schlocky cliché territory, but by that point, you’re firmly on board, ticket purchased and ready to see its journey through to the end. Star Ocean: The Second Story got the remake treatment for a reason - it’s a classic of the genre with compelling characters, wonderful storytelling, and oodles of satisfying mechanics. R goes to great lengths to streamline the Star Ocean experience and make it more beautiful (the new arranged soundtrack is glorious), and while it might have sustained a bit of the difficulty that made the original a triumph to overcome, it still squarely sticks the landing.