A young boy named Hue goes in search of his mother who has gone missing. Along the way, he discovers the ability to change the color of the world around him which makes objects of the same color disappear, and thus Hue can walk through where they were as if they don’t exist.
Swapping colors with a color wheel via the right stick, basic platforming, and moving around some boxes are the only interactions you’ll have playing Hue. While simplicity isn’t a bad thing, a majority of the game’s puzzles are far too easy as they consist of just being able to recognize colors, swapping to the intended color, and then proceeding. Only around the last 10% of the game’s puzzles required any thought or skill on my part, and I don’t exactly consider myself a brainiac. As it only took me around three hours to finish this, I was left disappointed with the lack of challenge.
What if Transformers were really just humans that transferred their consciousnesses into robots, actually couldn’t transform, and did lots of shooting with guns in a twin-stick shooter? Well, then you’d have Livelock, a game not to be confused with the identity-theft protection service LifeLock.
I’ve played plenty of twin-stick shooters, and Livelock is a pretty enjoyable one. You play as one of three robots, each with unique weapons and abilities. One robot punches has shields and plays the role of a tank, another heals, and another is a ranged shooter. As the game supports three players simultaneously, playing with one of each character is ideal but not necessary.
Cyan, the developers of Myst and Riven, are back with Obduction, an adventure game that takes place on an alien world after being abducted. While that sounds like a winning combination, this somehow managed to be one of the worst games I’ve played this year for a multitude of reasons.
First and foremost, this is supposed to be a puzzle game, but the puzzles rarely consist of little more than finding a hidden button or lever to press to be able to advance. Half of the puzzles involve using teleports that also change the world around you, something that isn’t made obvious as sometimes the changes are subtle.
Thing is, every time you use one of these puzzles you’re greeted with a loading screen, which admittedly looks great, but seeing loading screens hundreds of times in modern games is frankly unacceptable. I’d wager that a good third of my playthrough was spent loading, and that is with the game installed on a top of the line solid-state drive; for those with standard hard drives, I’ve seen evidence of upwards of two-minute load times per loading screen.
On-rails shooters have all but died, with only a handful releasing in the past decade perhaps due to the decline of the arcade. I absolutely adore the genre having grown up on the Area 51 and House of the Dead series, so my words should hold some weight when I say this is one of the deeper games in the genre; that is, if you can get over its ridiculous content, which is a big if unless you’re really into seeing child-like anime girls in their underwear (in which case, this is probably a must-buy for you).
Double Peace is a sequel to the original Gal-Gun (or Gal Gun or Gal*Gun) which was never localized outside of Japan. However, this game can be enjoyed without having played the original. The story of the original is explained at the start of the game, as this game takes place at the very same school, just with all new characters and enemies.
This game largely follows the same story: An angel/cupid in training is tasked with shooting the main character, Hodai, with a single love shot, but ends up blasting him with a lifetime’s worth by accident. This causes every female in his school to become lovestruck and obsessed with him. This also means that Hodai has only 24 hours to find his one true love, as he apparently can’t ever be shot with another arrow. Thus he has quite the dilemma on his hands.
I’m typically wary of any title that features any type of hacking or coding, as they tend to be monotonous, but I’m so very glad I didn’t pass up on Quadrilateral Cowboy. This adventure centers around a group of three women in the 1980s as they take various jobs hacking and stealing information.
The jobs start simple enough, only requiring connecting your devices to ports and pressing open, before quickly adding in coding, controlling robots, and even jump pads that launch you across the air. You’ll be hacking in apartments, skyscrapers, and even in space. No two levels feel alike, which kept the experience feeling fresh from start to finish, which took me about five hours total.
If you’ve ever played Blendo Games other adventure game, Thirty Flights of Loving, then you’ll quickly recognize the same boxy yet attractive art style, and hip Wes Anderson-like characters and color schemes, only this time mixed with lots of hacking. The hacking is done somewhat realistically via using various programs on a portable computer such as telnet and even remote control robots, though calling it hacking is a stretch as it is bit closer to basic coding, though that isn’t a bad thing.
Monster Hunter Generations features locations and monsters from all across the series, as well as some new favorites to boot. On top of that, you’ve got additional ways to play—different hunter styles, hunter arts, and Prowler mode where you can take control of one of your Palicoes. If it isn’t obvious, let me make it clear for you: Generations is the best game so far in the Monster Hunter series and is a great place to start even if you have never played any of the others.
Previously Monster Hunter was known as the grind-filled action RPG where you hunt and kill giant monsters (read: dinosaurs, dragons, and giant ancient beasts) to collect their body parts, which are then used to make better weapons and armor so you can fight even more monsters. While the main core gameplay is the same, I have never felt like Generations is a grind, as Capcom has simplified things a bit for the better.
Did you know that Umbrella Corps released on PS4 and PC recently? If not, I don’t blame you as it released with no marketing or fanfare, and after playing it I can see why: It sucks. I think Capcom knew it was bad early on, hence why the Resident Evil branding is nowhere to be found in the game—even the iconic rumbling voice saying “Resident Evil” has been replaced with a woman simply saying “Umbrella” without much passion. I guess it would have been more expensive to have her say the full game’s title, and Capcom clearly wanted to cut its losses.
The easiest way to describe Umbrella Corps is a frantic arcade multiplayer third-person shooter that feels closer to something that should have been free-to-play instead of being offered for $30. Playing as a generic gas-masked guy with a few different guns, you’ll be running around zombie-filled locations based on the Resident Evil franchise in one of three modes. You can unlock various other boring black gas masks for your character, as well as other customization options, all of which are equally dull.
OmniBus is one of those games made for the Twitch streamers and YouTubers who overreact to everything. The game has purposefully broken physics meant to be funny but instead ends up negatively impacting the gameplay, unlike games such as Goat Simulator and QWOP that pull this feat off.
The story mode has you playing as OmniBus, a personified superhero bus. There isn’t much story to be had aside from brief dialogues at the start and end of each level which mostly consist of telling you your objective and thanking you for completing it. But no one is buying this game for the story in the first place.
You play as Elvis, whose house is destroyed, so he sets out on a dangerous platforming adventure to get a new one via his warranty. Along the way Elvis walks right through the middle of a race war between his people, the red triangles, and their neighbors, the blue monsters.
Over across 100 levels, you hop between platforms which you stick to as if magnetically, allowing you to run around all sides without fear of falling. Elvis acquires a blue-monster disguise early on that allows him to jump on blue areas that would otherwise disappear when he approaches. Inversely, red spaces can’t be used when in the disguise. Even the stages themselves are ‘racist’ in this game. Luckily, you can instantly switch between colors on the fly with the press of a button.
Have you ever watched your childhood gun downed in front of you? Because that is what it was like playing Teenage Mutant Ninja Turtles: Mutants in Manhattan. I grew up on the old-school cartoon and movies, had a ton of action figures as a kid, and even had the album put out by the turtles with a post of it over my bed. I also didn’t have many friends.
So you probably wouldn’t be surprised when I say I was looking forward to this game. I mean, who wasn’t? A Turtles game developed by Platinum Games with a groovy comic book art style, how could it go wrong? But wrong it is, oh so wrong.