Push through the tedium and you may just be gobsmacked by the game’s beauty.
The show is full of explosive energy, but it also feels frustratingly unrestrained.
The latest game in the Yoshi series is fixated on emphasizing the joy of discovery.
A few cheap jump scares aside, nothing about Directive 8020 is surprising.
The album-identification tasks are fun little puzzles, but they’re also invitations to empathy.
The game shines most in the ways in which it addresses and celebrates literature.
Rich in thrilling platforming elements, MIO is very much in the Hollow Knight mold.
Even when it digresses, the game always finds its way back to a compelling central rhythm.
The game is about as satisfying as an action film that’s all special effects and stunt work.
The style of the game is far from the one that Remedy is known for.
Pippit’s yoyo is the core of the gameplay, and it delivers trick after tightly strung trick.
The game maintains a thrilling sense of momentum across its eight-hour campaign.
Monaco 2 isn’t just about planning a perfect heist, because where’s the fun in that?
The layers to Blue Prince’s roguelite design are what keep the game so captivating.
Shadows is a near-perfect blend of focused missions and leisurely exploration.
The disorientation that Everhood 2 seeks to bring about is more or less the point here.
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.