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It's easy to think of how some of your favorite video game genres might fit together. In the space of just pure imagination, it’s possible to completely deconstruct familiar tropes and wildly throw them against a wall to see what sticks, challenging established norms without consequence. It’s this sort of unhinged creativity that makes Supermash initially hard to ignore. By making it easy to choose two genres and mash them together with randomly determined results, Supermash seems to promise a near endless supply of retro concoctions. But instead of delicately blended results, the games that Supermash does spit out lack any identity, while feeling too similar to one another when they do work and downright frustrating when borderline broken. The core conceit of Supermash is the ability to create new games from templates of genres. The genres on offer are varied, ranging from a classic NES action adventure in the vein of The Legend of Zelda to the sneaky steps of a Metal Gear-inspi

The first island you visit in The Touryst is a tiny, perpetually sunny place, and it's full of spots to have a sit or a lie down. Having a rest doesn't achieve anything, but I found that my immediate instinct was to give my character a moment to luxuriate on a bed in one of the island's small personal rooms--this is a game about vacationing, after all, and on any vacation it's important to relax. The Touryst is a soothing and relaxing experience thanks to the lovingly rendered voxel graphics and the (mostly) gentle gameplay, and despite some occasional moments of frustration, playing it really does feel like taking a mini-vacation. You play as a moustachioed man in a loud shirt who is tasked with travelling between different island vacation spots and collecting cores that rest within the game's scant few monuments--essentially short dungeons. You move between beach parties under orange sunsets, lush tropical expanses, and Mediterranean tourist spots, before diving

You've earned the right to mess with the XCOM formula when you're the person chiefly responsible for it. Julian Gollop was the co-lead designer on the original XCOM: UFO Defense in 1994, and Phoenix Point , from Gollop's new studio Snapshot Games, is a self-described spiritual successor to XCOM. At first it feels all too familiar: You play the eponymous private military organisation defending Earth from an alien threat, patching holes in the sinking ship via tactical combat and strategic upgrades. But Phoenix Point reinvents the formula in both big and small ways, sending changes rippling across the strategic map and tinkering with the nuts and bolts of close combat. Not every new idea is equally successful, though many of them are welcome, and in sum deliver a refresh that points the genre in an exciting new direction. As with the first XCOM sequel, Terror from the Deep , the threat here comes from the ocean. A mysterious mist is creeping at the coast, luring people into

Hell is teeming with demonic masters tricked into subservience by Lucifer himself--or Lucy, as Strife affectionately calls him in Darksiders: Genesis. An isometric hack-and-slash bonanza, the latest instalment in the Darksiders series sees you puppeteer dastardly duo War and Strife in a combat-fueled romp filled with bombastic brawls, infernal abominations, and quippish one-liners. The protagonistic pair form one cohesive half of the Four Horsemen--a parade of soldiers born from the ungodly union of angels and devils. And yet Genesis' story is wonderfully witty and whimsically warm. War is a belligerent and straight-laced gladiator who takes everything very, very seriously, and Strife has brilliant fun hurling droll jests his way. "Knock knock," opens one exchange. "What?" replies War. "You're supposed to say 'Who's there?'," retorts an incredulous Strife. "Why would I give away my location? I would simply smash through the door a