I can often take months (or years…) to complete game campaigns, so finishing a campaign just 10 days after a game’s launch may actually be a speed record for me!

While I have played most of the Borderlands series, I’ve never played the Assault on Dragon’s Keep DLC for Borderlands 2 that inspired Tiny Tina’s Wonderlands. So I had limited knowledge of what I was in for, beyond that the usual staples of humour, loot, and eccentric randomly-generated-guns would receive a tabletop twist.

This guess was correct, but I found that Wonderlands was a larger, denser, and even funnier game than I was expecting. Unfortuately, it was also a buggier game than I was expecting. But let’s talk about what Wonderlands is aiming for first, before going into specifics.

The context of Tiny Tina’s Wonderlands is that people inside the Borderlands universe play a tabletop game named ‘Bunkers & Badasses’. After travellers Valentine, Frette, and the Newbie crash their spaceship into a mountain, Tina lets the stragglers rest in her house until they’re rescued… but only if they play ‘Bunkers & Badasses’ with her.

The gameplay of Wonderlands takes place inside that round of ‘Bunkers & Badasses’. You play as the Newbie, who is controlling the main character of the ‘Bunkers & Badasses’ match, while Tina is the bunker master in control of the story, and Valentine and Frette act as the Newbie’s advisors. This structure gives the game chance to experiment with the usual Borderlands style and gameplay, while also leaving lots of room for messing with the fourth wall and packing the game with an even wider range of references and shout-outs than usual. So far I’ve found side-quests that reference media as far apart as The Secret of Monkey Island, The Smurfs, and Don Quixote.

My first ever FPS was Call of Duty: Black Ops, and my favourite FPS is Call of Duty: Black Ops 2. So as soon as I learned that Black Ops: Cold War was a direct sequel to Black Ops that returned to the tone and focus of the start of the series, I really hoped to enjoy it. 

The majority of Cold War is business as usual for the “boots on the ground” type of COD games, and gameplay is mostly the familiar COD blend of corridor-shooter sections, setpiece spectacles, and vehicle segments. However, Cold War had more stealth elements than I remember previous games having, such as a mission where you must sneak into someone’s house to plant an item and so need to listen to the environment and family chatter to successfully avoid the target and his family. The stealth peaks with a mission that involves inflitrating KGB headquarters, which requires consistent caution – both in where you go and in how you talk to NPCs – for 90% of the mission, but then pays off with an explosive final 10%.

Where Cold War tries something new is in its campaign, which steps away from the linear A>B path of most COD games. The first and final missions are locked in place, but the rest can be done in any order, and can be replayed to complete side objectives that unlock once you’ve collected and decrypted evidence from other missions. (You can attempt the side missions without collecting enough evidence, or without solving the decryption puzzles, but this is very unlikely to succeed). Cold War is structured around using an evidence board to decide your team’s next moves and identify where the villain, near-mythical Soviet spy Perseus, is, and I found that this approach worked surprisingly well. 

Much to my surprise, Rainbow Six Extraction has been my most-played game this week. Given my woeful track record with games that require stealth, including Rainbow Six: Siege, I wasn’t expecting to play Extraction far beyond an initial curiosity-check. However, after a rough first few attempts, I learned more about how to approach Extraction and then began to really enjoy it.

Although Extraction was released in January 2022, it actually started life in 2018, as a limited-time event inside Rainbow Six: Siege. “Operation Chimera”, as the event was known, replaced Siege‘s usual realism with a mysterious alien invasion; this experiment recieved enough positive attention that Ubisoft developed it into a standalone game. As a full game, Extraction is a co-op PvE experience that applies the methodical and tactical nature of the Rainbow Six series to a horde mode similar to Back 4 Blood or the Zombies modes in Call Of Duty games.

Because Extraction is a spin-off from Siege, most of its components are familiar. Its graphical style and quality, its movement and feel, and its operators (characters) and weapons, are all from its parent game. Its missions are where its differences become clear.

One obvious change is that the contents of each mission (incursion, in Rainbow-Six-speak) are semi-randomised. While the map layout is constant, everything else is variable; from the type and location of objectives, to the squad’s starting point, to the mutations that add new risks or hazards. (I think its semi-randomised rather than fully procedurally-generated, because the enemy and objective placements have never felt illogical or broken.)

Before I discuss Kingdom Hearts: Melody of Memory, I should make clear that I am not its intended audience. I’ve never played a Kingdom Hearts game, I’ve never played a Final Fantasy game, and I’ve had the minimum exposure to Disney that someone born in the 90s can possibly have. As such, I can only play and review MoM as a rhythm game, not as a Kingdom Hearts game. (I will mention the story later, however, because long-term KH fans will need to pay attention to this game’s ending).

MoM can be summarised as a controller-based rhythm game that takes players through songs from previous KH games in chronological order, including other spin-off games. The World Tour campaign features 140 songs across around 100 stages, and each stage is based on a location from a KH game. (Barely any Final Fantasy characters appear in MoM; its focus is on the Disney and Kingdom Hearts characters).

One of the most intriguing parts of MoM is how it approaches the core rhythm game task of hitting notes. The game’s layout during the tutorial and the early Field Battle stages suggests that its controls will be simple. Notes travel down the screen in three lanes, while three buttons can carry out regular attacks, so at first it feels like one button per lane is the way to go: LB for the left lane, A for the middle, and RB for the right lane. This works… for early songs on Beginner difficulty. After that point, the other mechanics kick in and make MoM about more than just memorisation.

The middle lane isn’t just for hitting notes, but also for jumping (the B button), aerial hits (B then any attack), special attacks (Y) and gliding along aerial strings of notes (holding B while steering with the left stick). Almost every button on a controller has a role in MoM, so remembering which button you need to press in any moment can be the most difficult aspect of the game to get used to.

Three things that always catch my interest are reading, gaming, and coffee. So when I saw that Games with Gold was featuring a visual novel game centred on brewing coffee, I instantly downloaded Coffee Talk.

Coffee Talk was released in January 2020 and set in the near future of … September 2020. This version of Seattle is home to elves, werewolves, succubi, nekomimi, and many other species, but thankfully not to COVID-19.

As the friendly yet mysterious owner of a coffee shop that only opens at night, you attract all sorts of customers in a variety of circumstances. Over the course of two weeks in the world of Coffee Talk, you eavesdrop on, and help along, the lives of six characters. How do you do this? By listening, talking, and of course by brewing them the perfect drink they need for the situation they’re facing.

Somehow I’ve never owned a Tetris game before, so when I discovered Tetris Effect Connected on Xbox Game Pass soon after it was released, I decided to try out this version. The graphic style showcased in the screenshots and trailers seemed impressive, and the idea of head-to-head online matches appealed to me much more than experiments such as Tetris 99.

My first impression of Tetris Effect Connected was a little negative, purely because it seemed oddly pretentious. This was mostly due to its language and exposition; the campaign is called a “Journey mode” and is described as “a voyage of emotion and discovery”, while you are referred to as a “Guardian” whose job is to help save the galaxy from a negative void that’s going to erase existence. Leaving that to one side and jumping into the gameplay, however, quickly appeased my scepticism.

Its clear from the first information screen that Tetris Effect Connected aims to be an immersive, sensory-blending experience; its encouragement to equip surround sound or wear headphones “for maximum enjoyment” is presented with the same prominence as its photosensitivity warning.

This aim is reinforced by how the Journey mode is built to be near-seamless. After completing each stage, you automatically transition into the next one, while failing a stage resets you to the start of the previous stage rather than returning you to the stage selection screen. This approach feels like its designed to absorb players into a flow state, especially as the power-up mechanic is called “the Zone”. Once you’ve filled the Zone meter by scoring points, you can activate it to slow down time and hold tetrominoes at the top of the screen until you’re ready to release them. While activated, lines that you clear won’t vanish as they normally do, but will instead stack underneath the existing game board. When the Zone activation ends, all of those lines are cleared at once, allowing for not just the titular high-scoring Tetris (4 lines cleared at once), but an Octoris (8 lines), a Decahexatris (16 lines), and even clearing more lines than the game board contains at once (an aptly-named Impossibilitris).

Today I’m looking at indie game, and former Switch exclusive, The Touryst. One of my friends recommended it to me, as he found its free exploration and relatively short length relaxing.

Initially, I didn’t find it quite as peaceful, because the first thing I did was jump out of the arrival boat on the wrong side to see if I could swim in the surrounding ocean … I could, until I was eaten by a shark.

Once I respawned which let me quickly discover that there is no life counter and no major consequence for death, I began exploring the islands. The Touryst takes place across a cluster of small islands, which you travel between by boat. The boat being at the end of a boardwalk and accompanied by an ever-present Captain reminded me strongly of the balloonist in Spyro the Dragon, which added to the game’s nostalgic vibes. Some of the islands are inspired by real-life locations like Santoryn (Santorini) and Fyjy (Fiji); all of them are compact, colourful, and studded with secrets, mini-games and tasks.

Letter Quest: Grimm’s Journey Remastered (often referred to as Letter Quest Remastered) is a word-assembling RPG where you defeat monsters with your vocabulary, your scythe, and bacon.  

I was introduced to LQR by two of my friends, who assumed that I would enjoy its celebration of verbal geekery. I’m happy to say that they were correct. 

In LQR, titular young reaper Grimm must battle though the foes who are blocking him from his desired treasure … pizza. Battling is carried out by finding words in a board of Scrabble-style letter tiles; your score for each valid word becomes damage to the current enemy, who then retaliates with attacks of their own. Each defeated enemy and completed quest awards Gems, which you use to strengthen Grimm’s selection of scythes and to buy skill upgrades.

Imagine flying a Wipeout-style ship along the musical ribbon from Vib-Ribbon, while dodging lasers, while playing a twin-stick shooter at the same time, and that almost sums up Aəero.

Aəero is part of a new generation of indie rhythm-action games that has sprung up since the over-saturated -Hero games met their demise and Beat Saber took VR gaming by surprise. It shares two foundations with other experimental rhythm games; a blend of various gameplay styles, and an aim of creating flow-inducing multi-sensory experiences.

The core gameplay of Aəero is balancing the duelling roles of the left and right analogue sticks. With the left analogue stick, players follow the ribbon of white light that traces out each song’s most salient melody. The ribbon can soar and fall with the singer’s pitch, or swoop and spiral to follow synthesizers and bass. For me, the most challenging songs are the ones which quickly swap between delicate adjustments and larger jumps or spirals. When the ribbon isn’t on-screen, players instead use the left stick to avoid obstacles and fly through narrow gaps in routes interrupted by burning lasers or crushing platforms. The right stick controls the aiming reticle, which players use to target enemies and projectiles, while the right trigger fires the ship’s laser beams. 

As Dear Esther begins, the protagonist stands at the entrance to a deserted island quickly revealed as being in the Outer Hebrides. Behind the protagonist is a short concrete path leading into the ocean. I promptly walk them into the ocean (for science, of course). As a result I discover some of the island’s mystery within seconds of playtime. My screen fills with indistinct images and pulses like a heartbeat, while the narrator’s own voice whispers “come back…”, before the protagonist reappears at the starting point. After walking into the ocean again to see if any of the environment changed as a result, and only unlocking an incongruous-seeming achievement for drowning, I start to actually play Dear Esther.

While I’ve played other Environmental Narrative Games before, I’ve somehow never played Dear Esther nor had its story spoiled. So I wasn’t sure what to expect from the game that brought ENGs into mainstream discussions.

Spyro 2: Gateway to Glimmer was the first game I recieved with my PS1, and also my first 3D game, so this is a nostalgic revisit for me. (As it’s named Ripto’s Rage in the Reignited Trilogy, I’ll just refer to it as Spyro 2 here). It was also one of my favourite games – I remember enjoying Idol Springs and Crystal Glacier, and finding the summer and autumn home worlds incredibly peaceful. I don’t think my 7-year-old self ever reached the final third of the original game, as it was mostly unfamiliar. This time, however, I beat Ripto at 98% completion after about 13 hours of in-game time, then reached 100% at about 14 hours (blame the Fracture Hills level for that delay!).

The major difference between Spyro the Dragon and Spyro 2 is revealed in the first cutscene, which shows off a more detailed story taking place across a larger set of worlds and also introduces you to allied characters who need Spyro’s help to take their homes back from antagonist Ripto.

I’ve been taking my time with the Spyro Reignited Trilogy, as I wanted to enjoy each game fully without rushing them and without worrying about getting a specific completion % or making review notes along the way. I didn’t want to ruin my own experience in any way.

After completing most of Spyro the Dragon and Spyro 2, taking a break, then returning a few months later, I reached 120% completion in just over 12.5 hours of playtime. So here are my thoughts on Spyro’s renewed debut.

I didn’t remember much about the original version of Spyro the Dragon, as I played it after the second and third games, and found it less interesting in comparison. I remembered some early world themes, and the general plot of Gnasty Gnorc turning the other dragons into crystal statues, but much of the game was new to me.

The gameplay in Spyro the Dragon focuses on rescuing the crystallised dragons while collecting gems and dragon eggs. 5 dragon homeworlds are hubs that each contain portals to 5 levels: 3 standard levels based on the homeworld aesthetic, a timed flight level where you fly Spyro through obstacles, plus a boss level. The sixth homeworld, inhabited by antagonist Gnasty Gnorc, contains the remaining levels and final boss fight.

I rarely pay attention to upcoming games, because I dislike the media hype-to-disappointment cycle that comes with every new game. But a new version of Crash Team Racing, a game that my childhood self absolutely loved, was guaranteed to hold my interest. However, I worried that it wouldn’t be remade fairly – that CTRNF would be forced to take on the often-harmful baggage of modern gaming.

The original CTR was technically short but absurdly replayable. You could simply win each race once to reach the final boss and so nominally finish the campaign mode in 3 hours. But mastering CTR required learning the tracks inside and out to complete the challenging token races and devilish Relic races.

To me, any attempt to force attention-manipulation mechanics like season passes and time-gates into CTRNF risked ruining this tight design and its quality-over-quantity nature. So I’m disappointed that Activision and Beenox have followed the convention of including seasonal “content roadmaps”, time-locked shops and item rarity tiers. I’m happy about the prospect of continued interest and additional racers, but Activision’s attempt to shove the lifecycle mechanics of a looter-shooter or an RPG into a kart racer is shortsighted and unnecessary.

So from here I’m going to pretend those extras don’t exist, and focus on the game itself. Thankfully, the game is everything I hoped it would be.