#vita
#vita
by Amr (@siegarettes)
Ghoulboy doesn’t quite capture the retro feeling that it goes for. Ghoulboy fits comfortably along games like Poppyworks’ Super Skull Smash and Halloween Forever, which look the part in screenshots, but aren’t quite there when you get your hands on them. The movement is all slightly off, the feedback isn’t there, and some of the stage designs get finicky. Regardless, it ends up being decent fun in its own right, even if it mostly reminds me of games it can’t live up to.
by Amr (@siegarettes)
Riddled Corpses is the kind of game that I like to wind down to. Difficult enough to keep me engaged, straightforward, but with enough considerations to make it more than just pointing your gun in the right direction. Each stage is made up of multiple arenas where waves of enemies approach, with transitional moments where you fend off attacks as the screen scrolls to a new part of the stage. There’s a decent combo system that gives you a multiplier for points and damage as you chain kills, and there are destructible objects in the environment that can set enemies alight.
There’s also enough character in the sprites and enemy design that keeps it from blending in with every other twin stick zombie shooter I’ve played. The story involves demons and time travel, and honestly isn’t very engaging, but it does keep the mix of enemies and stages more interesting than the same tired archetypes that populate zombie fiction.
Right, so that’s an easy recommendation, yeah? Well, it would be, if I didn’t find its upgrade system so tiring.
by Amr (@siegarettes)
[TRANSCRIPT]
Sonic Team has made one of the best games of the year. It doesn’t have Sonic, it’s not even a platformer. It is, of all things, a fighting game. So move over Capcom, Arc Sys, and make way for Puyo Puyo Tetris.
by Shonté (@JohnnyxH)
For the end of the year, we take a look at the Games We Played, and the effects they had on us. Today we bring in poet, writer and friend
of the site Shonté
Daniels, whose other work can be found at http://shonte-daniels.com/.
Games are no stranger to the disposable body. Difficulty-driven titles like Super Meat Boy or Darkest Dungeon rely partially on the notion that characters will always die as part of their appeal. Darkest Dungeon plays with this, though, by giving characters agency and emotion. Adventurers feel less like dominos planted to fall, and more like living beings whose physical and mental wellness determine the success of the game.
By: Omar (@siegarettes)
Second Opinion by RJ (@suppadoopa)
There’s a certain sense of a remix culture taking place in the games space. AAA titles have become a parade of sub-systems and mini-games in polished containers. A simple look at the last generation of games will see a whole lot of derivative titles that can be described as “game X meets game Y” as popular games become continually borrowed from. In another space are the independent developers, remixing genres and styles from titles past to create new takes on them. Velocity 2X would be one of these. The first Velocity mixed the genre up by introducing a short range teleport, changing the focus from shooting to navigation and puzzles. 2X builds on that, introducing sidescrolling sections and story segments.
By RJ (@rga_02)
Remember those days back in elementary school? Where you would defend your favorite multinational corporation to the death? Be it either Nintendo, Sony or SEGA you would defend one of those entities like it was your newborn child. Now it’s 2014 and here you are in your twenties. Still bickering at one another about consoles….but instead of throwing generic schoolyard insults at each other, you’re a little girl who on a mission in the magical land of Gamindustri.
