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The Darkside Detective is one of those games that, technically, do not do anything wrong, but that are so mid and unoriginal and unfun that I think I would be doing you, the reader, a disservice by recomending it.

Gameplay wise, this is as basic as a point and click gets. It reminds me a lot of point and click games I got on CD-ROMs bough with magazines in the mid-90s. Absolutely run of the mill. Drag an object to another object, either in the inventory or on your screen, and advance. Do that enough times and you beat the game. While I like the minigames, it's hard to justify a purchase just for them.

Graphically, this is what I call lazy pixel art, since the pixels are so big that one would be better off working with vector graphics at this point. For a 2017 game, either you go for detailed pixel art, or you abandon the pretense and work with vector graphics. Blocky pixels like this are just lazy. The screens are usually either static or have small animations that make the lazy label even more warranted.

There's music, but little to nothing SFX and no VA, so yeah, what else did you except?

I could live with all these limitations if dialogue was solid and the game was fun and well-written. But guess what, I saved the worst for last. The dialogue is literally the weakest link in this experience. Like RESTLESS SOUL, The Darkside Detective is one of these games where every interaction prompts a dialogue, and every dialogue tries to be fun. When you're bombarded with your ninth joke in the span of 60 seconds, things stop being funny and start being grating. I literally played the first two chapters normally (I considered writing "enjoyed the first two chapters", but that would be a stretch), then kind of rushed through chapters 3 and 4, and literally speedrun chapter 5 and 6 with a guide because at that point I was so sick of the dialogue that I just wanted to see credits roll, uninstall it and never look back. This is the level of bad writing we're presented here.

And sure, a lot of people could argue that no individual aspect of this game is bad enough to warrant a thumbs down, but I argue that writing is. And even if it wasn't, the other legs of this stool are wobbly enough to make the whole thing crumble.

Is this a bad game or the worst game of the year? No. But in an universe where we have Wadjet Eye P&C games, and literally thousands of other games, recommending this one feels morally wrong

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I don't have anything new to say about this game that haven't been said by many reviewers and game critics before, so I'll stick to my experience.

I first played RE1 in the PSX in 1996 with my brother and my neighbor. I was six at the time, my brother nine and my neighbor 11. They held the controller, I watched from the sidelines. We never made it too far into the game - we played at night, and I clearly remember the first zombie scene, trying to flee the mansion, and the corridor with dogs. I think we dropped the game shortly after because I can't remember anything else from that time, and I was absolutely terrified of it. That was the beginning of the end for me when it came to horror games, I just felt I couldn't handle them.

Fast forward some 25 or almost 30 years later, and I'm playing games again, now as an adult. Recently tackled some scarier games like FEAR, SIGNALIS (abandoned, couldn't handle it), Hellblade (does that count?), Little Nightmares, and some unsettling but lighter games such as Daniel Mullin's The Hex and Pony Island, Fatum Betula, Limbo, System Shock 2, The Last of Us, etc. Then I finally felt ready to return to this game. Got this remake and booted it up, hoping for the best.

The experience I had was incredible. The game looks really, really good. Textures, models, pre-rendered backgrounds, the lightning, the sounds of footsteps, the growls, moans, and screams, it's a whole vibe. For the first two-thirds of the game, while I was still getting me bearings around the mansion and unsure of what was to come or where or when, I felt EXTREME pressure. It was unrelenting. And I feel that's what makes the first Resident Evil so special, to the point it coded and established the survival horror genre. You're never sure if now is the right time to save, because you might run out of ink ribbons when you need them the most. You're never sure if this is the zombie it's worth burning or even shooting, because you don't know if you'll be returning to that room or not, or where's the next ammo cache or fuel canister. Also, can you spare the inventory for that green herb? A first, blind playthrough of RE is marvelous in that sense, you're always on the edge and always second-guessing your decisions at every turn. I had some cheap deaths throughout my play, but luckily never really ran out of resources (showing I was over-conservative with them)

Voice acting and cutscenes are a bit cheesy, soapy and melodramatic, but I feel that's what they were going for and it lands. I think I would prefer a more serious style, it would blend better with the atmosphere, but what's on display there is not too bad.

And there you have it - my take on this great game, and the perfect way to cultivate a new Resident Evil fan, and someone who might one day pick SIGNALIS again and this time not suck entirely hahaha

Bounced off PRETTY hard. Think Baba is You meets Into The Breach. The problem is that Baba is You haunts me and my brain is not wired for that, and while I haven't played Into The Breach, I played FTL from Subset Games and that's another game I bounced off pretty hard. So yeah, bounce + bounce = Mobile Suit Baba, which is insta-bounce for me. Was fun for the first 12 minutes before I hit a rockwall and threw my computer off the window

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Uhhhhhh I agonized for a long time whether to give it a thumbs up or down, but the verdict is down. Consider this a rant, since I'm still playing the game, but very frustrated at this point and there's still so much game left.

Aeterna Noctis has SO MUCH POTENTIAL, but I feel it was squandered by trying to be too much for too long. If you know nothng about the game, imagine Hollow Knight meets Celeste but not as good as any of the inspirations. It prides itself in being a precision platformer Metroidvania, but the platforming is not as good as Celeste, and the combat is not as good as Hollow Knight. It tries to do both, and to a certain extent it succeeds, but it lacks the grace and expressiveness that each of its inspirations show in their respective subgenres.

Platforming here is not great because you don't have the same level of midair control or wall control that Madeleine has, and you frequently don't have visibility over your platforms. Screens here are huge, both vertically and horizontally, and while that's great for an exploration-based metroidvania, it's awful for one where you're suposed to land precisely on platforms that disappear after one second. So, so many of the puzzles require projectile control, which is also awful. I don't mind the idea behind the arrow and the teleport arrow, but they are not smooth to aim and to use, particularly when you have to use them repeatedly in the same platforming challenge. In Celeste, you could always see your whole screen so it was effortless to mentally map your route and execute it. Here you only see chunks of the challenge, have to pray that you'll land where you want with little mid-air control, and if you get it wrong enough times, you're sent back. Also, late game time trials are available and splinkered throughout the world, which makes extremely frustrating when you can't get a single bronze medal in any of them. Gate those things for NG+ or for late game, for Aeterna's sake, since this is not part of the main path which is already long enough as it is. Add the fact that Temple Trials are not only extremely punishing, but they are also required since many critical-path skills are locked behind them, and you have a game that's super punishing even in the easiest difficulty and even before getting to the optional content.

Platforming is so hard and punishing that I was pretty much forced to always have the gem that prevents you from losing souls when you die and the one that slows down time when shooting arrows, because without these two, progress is effectively impossible. Even with the souls gem, levelling up was incredibly, incredibly slow, gaining less than one skill point per hour usually, and with good upgrades locked behind 20 or 30 skill points. When you're forced to waste two of your gem slots just to stay alive and be able to cope with the normal platforming challenges, you're left with very little room to experiment with the remaining gems.

Then there's combat. It's not …. bad. It's just also not good. The dash doesn't truly connect, your jump usually is too short to avoid threats, the weapons you acquire throughout the game are mostly gimmicks, and your base damage after 20 hours of game is mostly the same as when you started …. it's just weird. Enemies become progressively more spongy and come in bigger packs with more tricky attack patterns, but it feels you don't become more skilled or more apt to deal with them, you just become more tanky and able to soak damage while trying to outdamage them. Hollow Knight excelled at boss fights. Boss fights here are, at best, good (never great), usually boring (basically outcompeting DPS), at worse grating like the Phoenix or the Underground Fortress AI, one of the most grating combat encounters I can remember facing on a Metroidvania.

And my last complaint is that the game refuses to end. It just can't take no for an answer. I'm 21 hours into the game, and at that point I was already on the final stretch of Hollow Knight and was already deep into Chapter 9 of Celeste. Here I'm barely over 50%, and I can clearly see there are huge areas in the map completely unexplored. Every area is bigger than it has to be, and require more backtracking than you would like. Fast travel is limited and usually forces you to keep redoing the same stretches over and over and over and over. Mapping is a chore - if you miss the cartographer when you arrive at an area (highly likely as most areas have multiple entry points and branching paths very early on), then you're navigating blind for a good hour or so until you find him, if not more.

And everything I said is such a shame, because if the game just was a bit tighter, shorter, with faster progress through the upgrade tree, more of these platforming gauntlets placed after the credits roll or on optional late-game areas, this could potentially be one of the best metroidvanias I had every played. For my first 5 or 10 hours I thought this looked better, sounded better, was more interesting and more fun to play than Ori, for instance. The visuals are incredible, with beautiful areas, a lot of parallax, variety in the environments and enemies, and lots and lots of good visual effects. The piano track is haunting like the world we inhabit, but each area has its own energy and pace. The plot truly is interesting and go to some wild places when you less expect. It's a hauntind and beautiful world with intriguing lore.

But unfortunately, by trying to be too much for too long and failing to land its main hooks (combat and platforming), Aeterna becomes a chore that refuses to end, but also refuses to let you reach the ending through punishing platforming and unexpressive combat. Buyer beware.

The first Call of Duty game I ever played, and frankly, it's easy to see why this became so popular. The campaign is electrifying, with lots of variety and almost never missing a beat. I played it in close to two or three sittings just because of how good it was. The settings are interesting, and the gunplay is also satisfying. I particularly loved how aiming down the sights with your advanced weapons was so much better than hip shooting from the weapons you got from enemies on the ground. The few levels with varied mechanics such as the choppers ones were also pretty creative and entertaining, and a good timer never fails to make you act recklessly and enhance the tension. Quite short campaign but I get why people loved this back in the day and why this launched the era of modern military shooters. I have MW2 and MW2 on the Xbox launcher so will try to tackle them soon, backlog permitting

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When I first booted Garden Story, I got the impression it would be a pretty average, generic little game. And while I'm not completely wrong, it turned out to have a lot more charm than I anticipated.

The basic gameplay loop of Garden Story is a mix of exploration, combat and resource-gathering. You use these resources to improve your village, which in turn unlocks better tools that make combat and resource-gathering more efficient. And it's in this interplay that you'll get hooked. At first you are overwhelmed by the amount of resources, the difficulty of the combat, and the number of locations available to you. Slowly, it all becomes familiar and trivial, and by the time you're getting used to your surroundings, the plot forces you to go to the next village and restart the process from scratch. It's a surprisingly effective loop, and I blazed through the game in a few days while having a lot of fun.

None of these gameplay modes is particularly deep. Resource gathering is mostly using the right tool at the right object, sleep for the object to respawn, repeat. Backpack and storage limits prevent you from doing too well here and forces you to keep coming back for more. Exploration is fun at first, but once you've mapped the areas, it is mostly gone, but the game gates you out of enough areas that you always have a new carrot to pursue. Combat is simple, but different enemies require different tools to deal with and prevent you from zoning out. The use of estus flask for healing and staming management give the whole thing a Souls-lite flavor, and some bosses can even be difficult the first time around.

There's light gardening and base-building and crafting and daily missions and library-cataloguing and upgrade trees for your weapons and for your healing and for your repair box, and NPC favors, and just a lot of modern systems that games throw at us, and I think that's why I dismissed this game at first. But having 100% it, it does a pretty good job with all these systems and is well worth buying at full price in my opinion.

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It's quite a miserable experience to run this game on modern hardware, and even more miserable to attempt to beat it given the brutal difficulty curve, but I would be remiss if I didn't recognize it does more things well than poorly.

To be fair, I don't see myself playing it anymore. It didn't really click with me. The humor and lore/plot are a bit cringey and get old very soon. It's not terrible, just not great either. But what really didn't land with me were the controls, and consequently, the combat. Magicka's spell system is really, really intricate and deep. This means expert players are capable of bending the elements at will, casting shields, imbuing weapons, placing grenades, using projectiles, beams and AoE attacks when they want. But it requires so many button presses that are placed so close together that it felt like my fingers were playing DDR. In order to keep alive and the DPS decent, you have to type faster with your left-hand than a Twitch mod banning slur during a CoD livestream. Half the time I was using memorized spells, the other half I was dead. It is a deep system, but really hard to grasp and too much for my smol brein.

That said, it's a game that looks and sounds lovely, and while the challenge level is high, it's also somewhat fair and varied for skilled players (I can attest seeing pros playing on Youtube). Multiplayer coop must be a lot of fun. But it's hard to recommend this game given the instability issues, the arcane controls, and the overall frustration that comes with it. Buyer beware, this might become one of your favorite games, or something you simply hate or play out of spite

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Pumpkin Jack is an extremely mid game - it does what it does well, which is not much. As a 3D platformer and collectathon, it's pretty decent. There's platforming, exploration, combat and some puzzles, with no area being excellent but all being serviceable.

Platforming sometimes require a level of precision the games does not provide, with Jack's jumps being floaty and slippery. Exploration is mostly okay, you'll be on the lookout for crow skulls but other than that levels are extremely linear and there's nothing else to look for. Combat is basic and hectic with no skill involved, just button mashing, but the game keeps it fresh with enemy variety. Puzzles can be fine or awful, but they never go for long enough to bother you. Levels are mostly uninspired, dialogue is unnecessarily bad, graphics are generally good and the music starts off well and gets worse as the levels go by.

All in all, it would be a decent game to spend one or two afternoons with if you paid no more than $15, which means at least 50% off. That said ….

It gets a thumbs down for how poorly optimized/ported it is. My rig is not an incredible rig, but I can play Elden Ring, The Last of Us and Red Dead Redemption without hitches. Pumpkin Jack on minimum with all possible effects disabled barely went over 38 FPS for me, all the while frying my GPU. If you die and the level has to reload, or during cutscene transitions, it changes resolution, which can go from fullscreen to borderless to windowed without you ever asking for it. I play on a BenQ projector and it would cut the video output for 2 or 3 seconds as it did so, only to return with a wonky resolution. I don't expect AAA graphics, I just expect a game to run after being installed without requiring over an hour of tinkering.

And for that reason alone, it gets a thumbs down. As a dev, you cannot release a product in this state and call it a day.