Kickbeat is marketed as an “innovative rhythm game with a Kung Fu theme,” but its level of innovation, when games like Final Fantasy Theatrhythm have explored adding combat and RPG elements to rhythm games in well-developed ways that closely tie licensed music to game theming, seems quite limited. Kickbeat is a straightforward rhythm game dressed up in theming that impedes play to an extent, and with a selection of music that is small compared to most competitors (Theatrhythm Curtain Call, which came out on handhelds around the same time, has a significantly larger and more varied song library – and even free-to-play rhythm games on mobile like Cytus and Love Live School Idol Festival have comparably sized or larger track lists.)
Kapsula is a puzzle game combining the reflex-testing of an endless runner with the block-matching of a game like Columns; the end result is something a little like Audiosurf but without the soundtrack element. It is well-suited to mobile formats, requiring only minimal inputs and – with a simple failure state and an interface designed to make repeat play as efficient as possible – being built from the ground up for intermittent play sessions. The mobile puzzle and skill game market is gaining a well-established set of ground-rules for designing a good mobile game – it should be as minimalist in terms of getting to play the game as possible, and as easy as possible to try again after a session, since mobile games are often played for short periods of time to fill a break. In this respect, Kapsula works well.
Choice of Games offer a wide selection of choose-your-own-adventure stories in a variety of genres, and were among the first to embrace the genre’s popularity on mobile. While the package on offer in their titles is significantly less polished than a title like Eighty Days or the Fighting Fantasy titles available, the variety of topics covered is refreshing. Mecha Ace represents a foray into animé pastiche, and arguably succeeds.
The rise of mobile gaming and the re-popularisation of the visual novel/management simulator via games such as Sunrider and Long Live the Queen has brought with it a number of solid entries in the genre, but few really capitalise on what computer games can offer the genre. Simply reproducing a gamebook is one thing, but what a piece of software can do is add vastly more options and statistic-tracking while keeping the player’s experience unchanged. Recent mobile release Eighty Days is a good example of this; it is a very pure choose-your-own-adventure experience but one which has depth and variety beyond many examples that add significant depth and interest to keep the player returning.
Wolfenstein: The New Order is a game which is best discussed after completion; its most interesting ideas, those that set it apart from the mixture of old and new FPS it is, are ones that are best experienced and then discussed. As a result this article will take the form of a short review and then a lengthier discussion of what the game does, and whether or not this is effective. As a game it plays very much like an early-era PC FPS; the player collects weapons, can carry many of them, dual-wield them and collects health items to heal. At the same time it has been updated to take into account the ways in which the genre has developed; the health items are supplemented by limited health regeneration to prevent situations becoming completely unwinnable, weapons and abilities are upgraded by completing challenges and mazelike secret areas hidden behind walls are replaced by small side areas containing optional collectibles.
It plays well; the player movement feels weighty and responsive like Killzone, the weapons feel powerful and the action is a good mixture of Call of Duty style visual setpieces and intense combat against large numbers of enemies. There are a decent number of missions, the writing is snappy and effective and the only real complaint in gameplay terms is that there are not quite enough action climaxes. It is, arguably, formulaic – but at the same time it is an update of a series that near enough invented the first-person shooter, and so adherence to a successful formula seems entirely understandable. Thus as a game it is easy to recommend Wolfenstein: The New Order to anyone who has enjoyed previous entries (such as Return to Castle Wolfenstein, or the classic Wolf 3D)
– This section contains significant discussion of the entire plot and themes of the game -
Strider, the 2014 update of the established series of the same name, is a largely unremarkable and unpolished exploration platformer in the vein of Super Metroid. It has several strong features, but at the same time they feel underdeveloped and are rarely used in ways which innovate the genre. Its short length in terms of initial exploration means that the open-world exploration comes surprisingly quickly, but by the same token it comes before the player has really had much opportunity to use or master any of their newly-acquired abilities. This is in part due to the reliance on long chases and linear level design; the progression of the story drives the player through numerous areas without much opportunity to explore. Rather than acquiring an item and then returning through the area to use it, often the game will throw the player into a new area they may only visit a small part of with their current suite of upgrades immediately after making a first trip through one.
Transistor, Supergiant Games’ follow-up to the hugely acclaimed Bastion, can be seen as a refinement of its predecessor; it is a similar isometric action-RPG, with similar mechanics, challenge rooms, modular upgrades and difficulty mods. It even has a similar aesthetic/narrative design, with an omnipresent narrator making up for a mute protagonist. Yet calling it a simple science-fiction themed refinement of Bastion’s theme is underselling it significantly; it is a more ambitious, more tactical and much more challenging title.
Grid Autosport is a racing game which largely eschews the hype and bombast of motor-racing as a sport; it downplays the celebrity and the ostentation and focuses entirely, through a sparseness of design, on the racing itself. Thus arguably it is much more purely simulationist than most games; it has minimal narrative (complete races to challenge more capable opponents), a simple and functional user interface and most importantly minimal downtime between events. Getting from race to race is almost seamless, and this – in an era of complex user interfaces that can be difficult to navigate owing to too many decorative elements – is a virtue of the game.
Playing Strike Suit Zero is an education in the physics and motion of giant robot combat; it teaches the player that, unlike something like Zone of the Enders where the humanoid machines can coast around like aircraft, in space the virtue of transforming from fighter to mech is being able to stop and line up shots methodically. If anything, this shows the main limitation of humanoid robots – they are slow, less capable of rapid evasion while remaining accurate than a fighter and have a huge target profile that leaves them easily attacked by capital ships. Yet even so, Strike Suit Zero makes its mech combat a viable strategy, and indeed a very enjoyable one – setting it quite apart from its natural points of comparison in Project Sylpheed or Freespace 2.
The most recent entry in the Thief series was met with significant criticism prior to its launch for the changes made to what was perceived as a good existing formula. As someone who had not played the previous games, I entered this title with no preconceptions or high or low expectations. The result was a game significantly flawed – sometimes entertaining, with good ideas to be had, but mired by an uninspiring story, uneven design and frequent glitches that ruined the atmosphere and aesthetic.