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It's quite a miserable experience to run this game on modern hardware, and even more miserable to attempt to beat it given the brutal difficulty curve, but I would be remiss if I didn't recognize it does more things well than poorly.

To be fair, I don't see myself playing it anymore. It didn't really click with me. The humor and lore/plot are a bit cringey and get old very soon. It's not terrible, just not great either. But what really didn't land with me were the controls, and consequently, the combat. Magicka's spell system is really, really intricate and deep. This means expert players are capable of bending the elements at will, casting shields, imbuing weapons, placing grenades, using projectiles, beams and AoE attacks when they want. But it requires so many button presses that are placed so close together that it felt like my fingers were playing DDR. In order to keep alive and the DPS decent, you have to type faster with your left-hand than a Twitch mod banning slur during a CoD livestream. Half the time I was using memorized spells, the other half I was dead. It is a deep system, but really hard to grasp and too much for my smol brein.

That said, it's a game that looks and sounds lovely, and while the challenge level is high, it's also somewhat fair and varied for skilled players (I can attest seeing pros playing on Youtube). Multiplayer coop must be a lot of fun. But it's hard to recommend this game given the instability issues, the arcane controls, and the overall frustration that comes with it. Buyer beware, this might become one of your favorite games, or something you simply hate or play out of spite

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Pumpkin Jack is an extremely mid game - it does what it does well, which is not much. As a 3D platformer and collectathon, it's pretty decent. There's platforming, exploration, combat and some puzzles, with no area being excellent but all being serviceable.

Platforming sometimes require a level of precision the games does not provide, with Jack's jumps being floaty and slippery. Exploration is mostly okay, you'll be on the lookout for crow skulls but other than that levels are extremely linear and there's nothing else to look for. Combat is basic and hectic with no skill involved, just button mashing, but the game keeps it fresh with enemy variety. Puzzles can be fine or awful, but they never go for long enough to bother you. Levels are mostly uninspired, dialogue is unnecessarily bad, graphics are generally good and the music starts off well and gets worse as the levels go by.

All in all, it would be a decent game to spend one or two afternoons with if you paid no more than $15, which means at least 50% off. That said ….

It gets a thumbs down for how poorly optimized/ported it is. My rig is not an incredible rig, but I can play Elden Ring, The Last of Us and Red Dead Redemption without hitches. Pumpkin Jack on minimum with all possible effects disabled barely went over 38 FPS for me, all the while frying my GPU. If you die and the level has to reload, or during cutscene transitions, it changes resolution, which can go from fullscreen to borderless to windowed without you ever asking for it. I play on a BenQ projector and it would cut the video output for 2 or 3 seconds as it did so, only to return with a wonky resolution. I don't expect AAA graphics, I just expect a game to run after being installed without requiring over an hour of tinkering.

And for that reason alone, it gets a thumbs down. As a dev, you cannot release a product in this state and call it a day.

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It's so good that you wonder why no one has done it before

Sleeping Dogs might look slightly dated from a graphical perspective, but it still plays like a good wine. You have the open world formula popularized by GTA (in particular Vice City and San Andreas) with a location that is more charming and full of character than anything that Rockstar was ever able to pull off. I've been to Hong Kon 12 years ago, and it was uncanny how many memories were brought back by the setting alone. Sure, it's not always fully realistic from a geographical perspective (I thought it was a bit weird that you don't have Hong Kong Island separated from Kowloon by the Victoria Harbour), but if it fails on that it succeeds entirely on the way it captures the vibes. I of course don't remember specific streets from my time there, but I remember the feeling of being there and Sleeping Dogs captures that feeling exquisitely.

Other notable differences from GTA are the focus on melee combat instead of mostly guns, and the acrobatic nature of movement (in particular considering earlier GTAs barely allowed you to jump). Driving and gunplay are as good as you'd imagine, and the world is peppered with fun side-activities to keep you busy when you need a break from the main story. Speaking of which, it is so good. It's a good mix of The Departed with Infernal Affairs, and most characters carry their weight in the plot and in the worldbuilding. The story is serious and deals with some serious trauma, such as drug addition, double life, cold-blood murders, etc, but all the while keeping things light on the side with some dating missions as well as missions where you escort celebrities for a night out. It's a good mix that keeps things fresh, moving and interesting.

Some of the side content can get a bit repetitive, but at least you have tools to keep them more manageable (such as location trackers on your map). Driving can be slippery until you get used to it, and once you start unlocking the fancier cars and tougher races, it's so satisfying. The auto-aim (playing on controller) made shooting good enough that it kicks Max Payne's ass while delivering blows and environmental kills that put Batman to shame. And don't get me started on freaking jumping from a moving car onto another just because we can.

Sleeping Dogs is an extremely solid open-world game owing nothing to the games that came before or after it

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This is my first time playing a text-heavy, choices-matter kind of game, and I loved it. Although I never played a Telltale game in the past, I know Oxenfree devs used to work there, and it makes me very excited to play more games in that vein in the future.

It's not only about choices mattering - it's all about how natural and flow-y the conversations felt. No long videogame silences in the middle of a conversation, just a bunch of teenagers doing what teenagers in the US do and reacting to unexpected events in a hearfelt way. I've seen a lot of people complaining about how sometimes your choice of dialogue interrupts other people - which feels a lot like real life to me. Or how the game gives you very little to choose from and develops from there - again, which feels like what happens in real life. By taking these mechanical quirks (that some people might see as bugs, but I see as features), this feels less like a videogame and more like an interactive novel, which is something very refreshing to me. There are some minor mechanical interactions with your radio, but that's almost always a secondary mechanic to the primary mechanic of conversation as a problem solving tool.

Besides all that, you have incredible hand painted art, superb voice acting, and moody/atmospheric music that fits the vibe incredibly well. It's the full package. Maybe a bit short overall, but any longer and it would start to drag. $10 for this game feels super fair.

Going in blind and playing the game in a compressed timeframe (ideally one sitting, but at 4-5 hours that becomes a little hard) is the ideal way to savor this experience, and I'm very grateful for that.

PS - I've also seen people give thumbs down to this game because "it's tedious to play it four times for all the endings." Let me just remind these people that you don't need all the endings. You don't need all the achievements. It's your life and your time, and you have the option of enjoying a good story once or turning it into a chore four times. But don't blame the game on that, blame your life choices.

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Coromon is a good game at its core, but with layers of annoyance and frustration around it that drag the whole experience down. Were it streamlined and more focused it would be a strong recommendation from me, but the way it is now I can't seem to recommend it.

The good: combat is really, really solid. Not super complex or sophisticated, but it takes the basic Pokemon combat formula and modernizes many aspects of it. Like any good squad-based RPG, fights are super quick, with either you or the enemy dying in two or three hits max. With that pacing, buffs and debuffs are not super important, because by the time you finished setting yourself up, your mon is dead. It's a very different battle pacing than traditional party-based JRPGs like Final Fantasy or Battle Quest.

The enhancements to the Pokemon battle system include Traits (which add unique effects to each mon you own or is battling against), point allocation you can choose, free-form evolution and devolution, unlimited skill flashing, enabling and disabling skills at will, battles against 2 or 3 enemies at once, etc. Those are good additions and keep the combat system a bit more dynamic. Coromons are also varied, battle animations are fluid and smooth.

But, alas, the bad, starting with the combat: elemental damage is still king, meaning you can clear the whole fire-based dungeon with one mon, spamming one attack, including the boss in many cases. This makes progression a bit dull - just pick one mon from the element you need to clear that dungeon, rinse and repeat for all dungeons. The last dungeon introduces some additional complexity with a new elemental type, but there are few battles there and the last boss is just an endurance test where you can use all your items, so it's not the hardest thing.

The plot and the writing are just uninspired. It's clearly aimed at children, but it's childish to a fault. Pretty much no NPCs have remarkable personalities; the protagonist speaks and reacts enough to prevent you from feeling you're roleplaying, but not enough to have a solid personality; dialogue is shallow, as is the overall plot development, and you hardly feel invested in the world or the fate of its inhabitants. And the game is painfully linear, for no good reason that I could make sense of. Since the plot is so weak and disconnected, probably the devs could open the whole world from the beginning and let you choose your path, linking key plot development with each boss defeated. That would give the player a lot of agency on which dungeon he wants to tackle in which order based on the elemental makeup of his party, and would allow us to acquire, say, fire mon before we got to the fire dungeon (which is near the end of the game). Locking your choice of mons to the dungeons and limiting the order of those dungeons limits a lot player agency, and I cannot see how the game was made better for that. It would be justified with a strong plot, and that's not what we have here.

But for me, the biggest annoyance and the one that eventually brought this review to a Thumbs Down were all the tacked-on side puzzles that we must suffer through. Coromon sometimes forget that it's first and foremost a squad-based JRPG and thinks it's a smart puzzler, or a management simulator, forcing you to do stupid, senseless sokoban-puzzles or sliding floor shenanigans. The amount of times you're forced to stop fighting and enjoying the good parts of the game to do forced stealth on a palace, or a badly implemented obstacle course (don't touch the enemies) or a run from shelter to shelter (hot sand) - it's baffling. These segments are poorly implemented, dull, unfun, and too frequent. I'm not playing Coromon for the fruit-harvesting mini game, I'm not playing Coromon to customize my looks and outfits for 45 minutes, I'm not playing it for the cart-ride puzzles or the mushroom picking, cake baking, aroma making minigames - I'm playing for the combat and the monster capture! This lack of focus turns a short, weak, but focused squad-based JRPG into a grinding, dull, and monotonous unfocused mess that is a chore to get through.

Coromon is a classic example of less is more, but unfortunately the devs chose more, more and more

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Mad Max is the power fantasy you didn't know you wanted. It's a game that knows it's theme really well, and digs deep on it, with every gameplay element contributing to the universe the devs want to invoke.

It's a visually striking game. I ended up having to lower the specs to make it run on my machine so textures up close looked a bit mid, but I imagine that with a proper rig it looks gorgeous. But what really struck me were the environments and the effects. Night and day, explosions, sand storms, dust clouds, floating particles bathed by lightrays inside buildings, it all looks amazing, and the landscape is wide, expansive, desolate, and peppered with points of interest that catch your attention such as the ever-present Gastown, lighthouses, broken ship hulls, massive walls and jagged peaks. Driving around is a feast for the eyes, and it's clear that art direction here was very strong. The audio is also really good, with special emphasis for the two things that matter the most - the sound of a V8 engine purring, and the sound of a strong whack landing on someone's cracked skull. The game can get quiet at times, but it kind of adds to the desolate atmosphere, and is not a flaw in any sense.

The plot carries you along the story quite nicely. The game relies a lot on cinematics, including some action sequences that I believe would work better if you were the one doing the actions instead of watching them being done via cinematics, but it's fine. One of the flaws of the game for me was that the cinematics usually dragged, and I felt they were overused, but overall they are effective in creating the vibes of the game, exploring Max's inner psyche, and driving the game forward. There is a lot, and I really mean a lot of side content here, but very little of it is strictly necessary to progress. I imagine most people do some of the side missions to unlock better gear for Max or for their car, otherwise story missions can get quite difficult, but leave most of the side-content for the post-game, which is good. Although a lot of it is repetitive (defeate X convoys, destroy X scarecrows), the camp takeovers actually never got old and I enjoyed doing them to the very end.

The meat of the game is the gameplay, and it's solid here as well. You'll mostly be doing one of three things - driving, exploring, or brawling. Driving doesn't feel that great for me, I thought the handling was very slippery and car combat is somewhat simplified, not leaving you a lot of options to engage enemies. Make me miss Twisted Metal 3 or Vigilant 8 on the PSX hehe. Driving aimlessly around the expanses of the world is much more enjoyable than combat driving, but it kind of works. I dread and hate the Desert Races and haven't done many of them, and it's probably the one thing that will prevent me from getting all the achievements for this game.

Exploration, on the other hand, is a treat. Learning more about the world, be it from environmental storytelling or from in-game lore, item descriptions and Max's comments on story relics is verey effective worldbuilding, and I loved side-missions that took me to abandoned subway stations or airports, for instance. This world we inhabit sucks to be in, and helps to explain how Max became Mad Max. Interacting with NPC's is also great, I love Jeet and Scab and Deep Friah and all those guys. They fit perfectly into the world and are really well developed and voiced.

Finally, brawling is Batman's Arkham games improved in my opinion. You're not as effective as Batman in evasion, but it's a bit easier to react to enemies advances and to manage crowds. Where in Batman I could hardly connect combos, getting a 20+ wasn't super difficult. Overcoming a mob of 15 guys with melee weapons rushing you always feels great, and I just wish you didn't have to fight the camera as well as the enemies that often.

Overall, incredible game, I enjoyed my time with it so far and will keep coming back to it to liberate the rest of the wasteland and gather all the scrap I can!

This is a good game. This is a great game. This is a really, really, really great game. TLDR; Transistor is one of the most stylish games I have ever played, and features one of my favorite combat systems ever.

I'm playing all Supergiant games in order, and I'm glad to say they did it again. If Bastion was an appetizer, Transistor is the full course. You can see where the game comes from - the camera perspective, the combat style, the varied builds and loadouts, the difficulty modifiers, the customization, the parallel upgrade tracks for each weapon (function in this case), the beautiful watercolor artstyle, the ambient sountrack (this time with a powerful vocal singer in tow), the observant narrator (although this time he's a bit more subdued), the challenge levels, the replayability - there's a lot here which is a nod back to Bastion.

But then you have a new setting, a new protagonist, a new narrative method (which has similarities with Bastion, but to me mostly stood out as its own thing), and more importantly - a new combat system. The combat is the highlight here - we have an action game that will quickly overwhelm you during combat encounters, but which gives you a powerful tool: Turn(). When you enter Turn(), time stops and you can move/act freely. It's kind of a planning mode, where you can move and attack freely, and once you're happy with the planning, you can execute your plan. The downside of using Turn() is that you enter a Cooldown afterwards (proportional to how much of your Turn() you used), which leaves you exposed. So it's a great dance of entering Turn(), putting yourself into advantage, and surviving until you can use Turn() again. Or simply engaging in combat without Turn() to avoid the downside.

Combine that with your moves (functions) which can be placed as Active Functions (meaning you can map them to one of the four face buttons), Passive Functions (which enhance the Active Function it is attached to), or Passives (which applies to all functions and/or to your character). Customizing your build is a lot of fun, and since you unlock flavor lore by switching your loadout, you'll be doing it at every opportunity. I particularly think I never repeated a loadout all throughout the game - by the time I was almost settling on one, I'd unlock a new function and switch everything to make it fit in my builds.

Progression is also really good, with battles granting levels, which grants new functions, new difficulty modifiers, and new slots for passive functions and passives. Enemies grow with you, so even though you fight the same 10 grunts throughout the whole game, it hardly feels samey.

I said combat was king, but maybe the environment would be queen. Cloudbank is one of the most beautiful, haunting and stylish locations I've ever seen. You meet very few characters in person, but learn a lot about them via flavor lore, and they are all full of life and well realized.

If there are two things I'd fault the game is the length and the optional challenges. It's short. I've done most of the side content and beat it in 8 hours. Beelining through the main story probably would set you at 5 or 6 hours. If I complain about the game being short, it's because it's so good I wish it lasted longer. The way the devs found to make the game longer was with optional challenges, which mostly unlock in-game music and additional exp. While many were fun to tackle (like the ones that force you to finish a battle in one turn, showing you important combat skills you might not discover on your own), by the end all were too difficult. I could not beat all Speed Test ones, and the ones where you have to survive for 90 seconds were just a chore, not really fun or engaging.

At any rate, Transistor is definitely my favorite Supergiant game so far, and one of the best games I played in 2025 and ever. Must play.