Mark Steighner
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COGConnected Latest Reviews
Claws of Awaji provides a more satisfying conclusion to Naoe’s narrative than players got in Assassin’s Creed: Shadows, though it clearly suggests that Shadows was really her story all along. Awaji is a beautifully designed playground, filled with content. The new enemies and bosses are an appropriate challenge for the high-level players that the DLC demands. It’s a bit disappointing that Yasuke gets no new weapons and that the basic mission design remains relatively unchanged. It’s also a shame that Awaji Island and its enemies are gated from all but endgame players. However, for anyone frustrated by Shadows’ inconclusive finale, Claws of Awaji will bring some much-needed closure in DLC that rewards committed players.
Shape of Dreams does many things very well. It counters the roguelike problem of early game frustration by giving players lots of powerful and impressive tools right from the start. The flow of combat and the variety of builds have a lot of depth. The bite-sized battles are perfectly paced, though probably more satisfying for a group than a solo player. Shape of Dreams definitely has that compulsive, “just one more run” element at its core, and it’s a great scaffold for more content down the line.
Nothing about Katanaut screams originality, but the game’s particular combination of familiar elements comes together in an addictive package. There are a few minor annoyances, but nothing rises to the level of real frustration. Fans of side-scrolling Metroidvanias, retro-themed action games, and roguelites should have a great time with Katanaut.
Borderlands 4 doesn’t revolutionize the franchise, but it absolutely evolves it, and sets up an exciting future for the series.
I don’t enjoy dunking on bad games. Games are hard to make, and harder to make well. While acknowledging the 11-year-long commitment that finally brought the game to release, there are simply too many serious problems to ignore. Lost Soul Aside’s sometimes excellent action is undercut by flat characters, cliche story, terrible writing and rough mechanics.
Metal Eden is free of mission creep, focusing on refined movement, breakneck speed and punchy combat. It does those things well, embedded in an interesting fiction and shiny cyberpunk environments. A few objectives and systems aren’t always clear, and the game’s linear design and rigid mission structure could use some breathing room, as it starts to feel a bit repetitive. All in all, Metal Eden is a fun, fast and furious sci-fi shooter and will definitely appeal to fans of the genre.
Outside of its fairly derivative, sometimes repetitive, and not quite finely-tuned combat, Hell is Us has a unique identity. Its emphatic insistence on patient and meticulous puzzle solving and careful exploration creates a satisfying experience, even if its obtuse execution can frustrate on occasion. The game’s narrative, characters, and setting feel darkly surreal. Its ultimate message about humanity caught in endlessly repeating tragic loops has some weight. For gamers willing to take on its challenges and solve its mysteries, Hell is Us has a lot to offer.
Robot at Midnight is only a handful of hours long. There isn’t a ton of replay value thanks to its limited systems, weapons, and enemies. The combat and bosses are undeniably fun, but I kept wishing the mechanics had a little more depth, and the world had more detail. At around $20, the balance between content and price might be, unfortunately, up for debate for many gamers.
Echoes of the End is a mixed success. Its narrative, characters, and performances are excellent, and the world is impressive. Some of the game’s more logical environmental puzzles and its late-game combat are engaging, too. Unfortunately, the game’s overall pace is undercut by repetitive gameplay structures, far too many busywork puzzles, and flat combat that takes too long to get interesting. There’s a lot of great stuff in Echoes of the End, but it’s impossible to ignore what doesn’t work as well.
The one thing that all roguelikes and rogue-lites need to get right is convincing the player that the next run is going to be rewarding in some new way. In The Rogue Prince of Persia, this most often comes from increasing mastery of the game’s traversal, which is both accessible and challenging. Procedurally generated levels sometimes inhibit the flow and create frustration. At this point, The Prince of Persia is more a vague character concept than a game franchise, but it keeps inspiring developers in new directions, and that’s a win for gamers.