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.
There’s not a single choice that you make across the game that feels difficult.
The Lost Crown convinces players to see both traversal and combat as two halves of a whole.
The game is a stinging condemnation of entertainment that thrives on the suffering of others.
The game is a celebration of our inquisitive humanity and capacity for growth.
The game promotes a harmonious sense of working with the world.
Every inch of Super Mario Bros. Wonder is bursting with personality.
The game teaches us that some stories can only be fully told or understood in hindsight.
Mirage ought to have been more than the dim illusion of where the series has already traveled.
Here, the silliness of being a F.A.R.T. is predicated on enjoyable, rock-solid gameplay.
The faster it moves, the better it plays.
Disney Illusion Island has enough magic to make you wish there was more of it.