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There's an air of familiarity to Wolcen: Lords of Mayhem . It's an action role-playing game with heavy inspiration from Diablo and Path of Exile, from their high-fantasy gothic settings to their destiny-bound protagonists and plethora of abilities to dabble in. Wolcen wears its influences on its sleeve, and while it makes changes to their established foundations, it stumbles so many times along the way that it just feels lost by the end of it. Wolcen's opening obscures some of its more novel ideas, with a stale and predictable narrative that makes it feel generic. You play as one of three siblings born and bred for battle, but cast out from the only family you know when an unknown power awakens within you. It's a plot filled to the brim with exposition, riddled with vaguely explained fantasy jargon and worldbuilding that never clicks into place. It's easy to forget about entirely after the first few hours, with only the stilted dialogue and awkward cutscenes remind

Have you ever seen an old cartoon where a fight breaks out and the brawlers turn into a cloud of punches that flips tables and breaks everything it touches? Bloodroots , a breakneck action-puzzle game from Quebec developer Paper Cult, lives inside that cloud. A short, speedy tale of mayhem and revenge, Bloodroots dares you stab, bludgeon, squash, and otherwise murder dozens of thugs with the ruthless efficiency of the Wild West’s greatest outlaw and the zany gusto of Bugs Bunny trolling Yosemite Sam. Whether you do this for the sake of its well-written story and/or the thrill of a score chase, Bloodroots can be stylish, graceful (once you know what you’re doing), and surprisingly easy to pick up despite demanding a tremendous attention to detail. In its pre-release state, however, its most elating moments are easily and frequently disrupted by technical issues, keeping you from really hitting your stride as often as you should. Bloodroots puts you on the warpath with the Wild West out

From the Minestrone Mines to Gumbo Grotto, Snack World is an RPG universe entirely founded upon various types of cuisine. But although this base is admirably creative, Snack World's failings outweigh its strengths. Although it is conceptually innovative, the execution never quite lives up to ambition. Right from the get-go, Snack World acknowledges the tropes it attempts to riff off of. You awaken as an amnesiac hero, conveniently discovered just outside the castle gates. You earn an audience with the king, who is simultaneously jovial and relentlessly selfish, and he tasks you with a variety of quests to satiate his daughter's fleeting desires--most of which she no longer cares for by the time you retrieve your boon. Once you embark on an odyssey to regain your memory while becoming a dungeon-crawling virtuoso, you're quickly bombarded with a hefty amount of information tied to the game's various systems. Although they are relatively straightforward and conventional

The first game I played in Dreams was a cute Captain Toad-inspired puzzle platformer called Pip Gemwalker. It's about a Sloth who has to collect hidden gems across seven increasingly-complex levels. The second game I played was Blade Gunner, a Resogun-style twin-stick shooter with upgrades, an in-game store, and online leaderboards. After that I hopped into Art Therapy, a first-person game where your goal, as a disgruntled artist wielding a baseball bat, is to smash your way through a museum without any of the guards catching you in the act. The fourth was Shadows Dance at Olivetop Reach, a fantasy RPG with turn-based combat and an XP-based levelling system. Each of these games is vastly different from the last, not just in terms of genre and gameplay mechanics, but their use (or disuse) of cutscenes, voice acting, art style, music, narrative, and so on. The one thing they each have in common is that they were all created using the exact same set of tools. That's Dreams in a

It’s human nature to be curious about what seemingly mundane and inanimate things get up to while we’re not looking. Such thinking spawned mythos like fairies in people’s gardens, borrowers, and the Toy Story saga, and now we come to street signs. What do those little human figures get up to when no-one is around? If The Pedestrian is to be believed, the answer is 2D platforming, solving lots and lots of puzzles, and taking control of electrical devices in an attempt to escape their confines. In taking control of a human figure (either with or without a dress) your adventure in The Pedestrian is mostly confined to various street signs, blueprints, and other 2D surfaces. In the background, blurred into obscurity, are the beautiful 3D landscapes of the world they exist in. You can run, jump, and climb with light platforming maneuvers to get to new areas, but the crux of The Pedestrian's puzzling comes from the ability to zoom out and rearrange the positions of the 2D signs and flat

I push past a group of brownshirts threatening a Jewish shopkeeper. They're holding placards that read "Don't buy from the Jews!" and accusing the owner of being a parasite on the German community. The woman inside cringes as I enter the shop and warns me the men outside won't like it if I buy anything. But I insist and hand her my grocery list. At the end of the exchange I have three dialogue options: "There will be better times ahead," "I'm so sorry," and "I don't know what to say." All of them feel devastating and inadequate. When you're one person trying to resist the Nazi juggernaut in 1930s Germany, your best course of action is not at all obvious; indeed, anything you choose to do can often feel futile. There were so many occasions during Through the Darkest of Times that I questioned whether I was doing the right thing or if anything I did could even make a difference. Frequently, I simply didn't know what to

Kunai's premise is a familiar one. Humankind has reached the pinnacle of technological advancement and brought about their own downfall, inviting an army of AI-controlled robots to nearly wipe out all life on earth. A small resistance of remaining humans and conflict-averse droids begin fighting back, but without a miracle, that battle is all but lost lost. Tabby, a cheerfully emoting tablet in ninja robes, is that miracle. Kunai is both outlandish and endearing, starting squarely with its odd protagonist. Tabby--a dexterous tablet in a world dominated by robots with CRT-like heads and barely any traces of humankind--is on a quest to extinguish an AI uprising and prevent humanity's extinction. Kunai's world is fragmented into varied areas, giving you multiple paths to explore in its opening hours, with your growing toolset opening up new avenues to explore as you progress. Kunai features the familiar DNA of action-platformers and Metroidvanias, combining satisfying platfor