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The Casting of Frank Stone is an excellent world expansion for the lore of Dead by Daylight, but it has very little to offer outside of that beyond an intense finale, and ends up feeling like flagrant and offensive fan service.

There is an incredibly interesting concept at its base, but the game's story was so drawn out. It felt like absolutely NOTHING happens beyond the first time you meet the supernatural entity of this game, until the finale.
Skillchecks/QTEs were not only boringly easy, but so sparingly infrequent that it totally disengages you from the game.

The game story overall feels like offensive and flagrant fan service for Dead by Daylight fans, and offers little for a casual player.
There's no rhyme or reason as to why things are the way they are - dolls of the main game's Killers are scattered throughout and unexplained. Killer addons, too.
Repairing generators are randomly and inexplicably core mechanics of the game, but hardly an engaging mechanic at that: Generators feel like they were included as if they were a way of jingling keys at fans of the main game to say "LOOK, generators! You know what a generator is! You love generators! Come repair one!", despite there being no logical narrative reason for these to be there. Same thing with the random puzzles in the mansion - "OH LOOK, Hillbilly! You love him! Come solve a puzzle involving him."

While I understand this is not how game production works, the fan service is so egregious that the game FEELS like it (it wasn't) was fully written with no intention of being related to Dead by Daylight, and was retroactively fitted to be a part of the universe and sprinkled with an obscene amount of fan-service references that make no sense and just further muddy the already-confusing and overly-mind-bending plot for no reason.

The story offers little depth for anyone not already a Dead by Daylight fan, beyond some vaguely interesting mind-bending twists, but it's overall an absolute slog and absolutely nothing happens (and I mean NOTHING) for the majority of the game's runtime. You are hardly threatened or in danger, and in the moments where you are the QTEs and tension are usually so easy and mild that it's difficult to stay engaged.

The game delves very deeply into extended Dead by Daylight lore, and does an EXCELLENT job of building upon the elusive Black Vale cult mentioned in the main game and the omniversal themes from the main game. But these are things that I think even a minority of DBD superfans would even pick up on, yet the game spends an incredible deal of time on these subjects without doing the best job of explaining what's going on.

I also found myself running around and ramming my head into walls just to try and find every piece of lore and evidence possible, and the game is just devoid of rewarding lore or otherwise to pick up and find. So a huge amount of my playtime is distractingly running into walls and ENDLESS dead-ends, constantly killing momentum and pacing out of fear of missing an important secret, which the story is already severely suffering from.

Twitch integrations made this a delightful entry into the Supermassive Games pantheon of games - this made the game so exciting to play and engage with again and again. I sincerely hope to see this utilized more!

The camera-based gameplay is an interesting addition to a Supermassive-style game, but the gameplay of using the camera is so formulaic and predictable after the first time that it becomes a joke and rather tedious all instances afterwards.

I'll conclude this review by re-emphasizing that there is something REALLY good at the heart of all of this. There was truly something juicy that could have been here. But in the end, the execution was incredibly sloppy, the jumpscares were predictable, the way collectibles were so interspersed and inconsistently hidden were not conducive to engaging gameplay, and it was too easy until the finale, which was inexplicably and indescribably difficult in ways that were not fun.

HOWEVER, if you're still a fan of these kinds of cinematic Supermassive games or Dead by Daylight, you can definitely still play this and get some entertainment value out of it - I just would not at all say that this is one of Supermassive's most well-written or executed pieces, though.

Each of the three original games, lovingly restored.
You can choose to play with modern controls and conventions such as contextual actions and directional controls instead of tank controls, or you can choose to play with the original graphics in an instant and disable contemporary context/auto-pickup features.
No matter what way you want to play, this collection brings the classics to life in a beautiful light for both new and old generations. It's perfectly what it needs to be.

A cool game with affordances that make it nice to just exist with your best friends in the same room and scream

Wildmender is an incredibly fun and chill game where you can build an oasis with your friends!

Watching the simulations play out gives such a sense of satisfaction as you watch the desert grow from a desolate desert into a flourishing oasis; it evokes a very proud sense of building a home.

The deserts have constant surprises in store; tons of unique and satisfying tools for building and traversal are at your disposal, the deeper you dive into the story.

Give Wildmender a try with your friends!

An incredible rush all the way through!
While obviously (and unabashedly) taking inspiration from the Jet Set Radio franchise, this game absolutely comes into its own and builds upon the mechanics of its spiritual predecessor in a way that feels endlessly satisfying to control.

An awesome engaging story with some genuine twists, incredibly charismatic characters, a boppin' funky soundtrack, and an astounding amount of graffiti await in this game! The game takes inspiration from design choices of the 2000's while keeping modern sensibilities: from unlockable characters and cosmetics that are really just there for fun to collectibles that expand your music selection. Challenges "because I can."

One note: The later sections of the game suffer a small bit from a lack of establishing its own identity; it tries very hard to emulate Jet Set Radio in some sections and the gameplay feels a little restricted and linear, creating a tad of a lull. That said, the environments are beautiful, and despite the slight increase in late-game monotony, the game feels incredibly satisfying to simply control and exist in the world!

The Outlast Trials takes the fun cat-and-mouse, hide-and-seek, nightvision-fueled gameplay of the original two single player entries of the franchise, and throttles it into a clever multiplayer format while building on some well-welcomed innovations and new mechanics.

Players are thrown together and must work together to survive. Well, they don't have to, but it would be greatly to their detriment. Powerless to fight back (except for the occasional brick or bottle), terrifying NPC enemies will patrol the grounds of the Trials, watching key objectives and keeping you on your toes. It's up to you and your team to use your wits, surroundings, and crucial teamwork to lure enemies away from key objectives while solving puzzles/completing these objectives at the same time.

The game, in my opinion, is best experienced and discovered freshly and for the first time with friends who are also discovering it for the first time.

Considering the game cannot be as cinematic as the single player experiences by sheer nature of being multiplayer, this game's AI does an incredible job of facilitating fun chases, as assailants will weave in and out of rooms, and naturally coerce players into leading enemies to each other, creating a terrifying domino effect. The game's proximity chat is an absolute blast, and playing with friends or strangers while being chased and bumping into each other through the winding halls of Murkoff is hilarious and fun with incredible acoustics and quality.

The game experience, especially the UI, has been optimized for casual gameplay, but the game allows for incredible experience customization - allowing you to flip as many switches as possible to tailor the experience how you want. For longtime fans of the franchise, or for players looking for a true scare, Immersive presets are available; on the opposite end of the spectrum, accessible settings allow players to have as much information as needed on screen for a good playing experience.

The game is a beautiful foray into emulating the wonder of exploration, wandering, and discovery.
Discovering something new is awe-inspiring, and it's full of absolutely breathtaking visuals.

200 hours in and I haven't finished, but so far the main story is incredibly well-written, and will challenge you to question your world view on what it means to exist in this wide universe of ours, in whatever ways you can find that are meaningful to you.

Wandering and discovery, in real life, is often quiet and uneventful, as the characters in the game will constantly remind you. Sailing through the Black Sea and landing on barren planets, there is something truly wonderful and awe-striking about finding these places.

The worlds feel lived-in, and talking to every NPC feels like talking to a real person with a vivid history.

I've loved every second of this game, and every moment is one of quiet wonder.
If you're searching for a game where the main attraction is sight-seeing and discovery, this game will not disappoint.

Unfortunately, for better or worse though, Starfield is a Classic Bethesda RPG that fails to stray from its viral predecessors (Skyrim, Fallout 4), and in turn, fails to find its own identity, and to that end, the game feels like it rarely achieves the experiences it sets out to accomplish.

Cities and NPC interactions feel small and shallow, major decisions in the main and major faction questlines, for the most part, feel completely unimpactful on the universe as a whole with no consequences. The crafting systems also feel crammed to fit within the typical inventory systems of its predecessors. Although, the O2 system of carrying and Overencumberment is a rather fun and welcome change to traditional Stamina systems of Bethesda RPGs.

Major intended cool-moments are mired in jankiness and end up falling flat and completely underwhelming. A couple moments include the stealth of the Ryujin questline, where stealth feels meaningless when every enemy spots a single hair poking out from over cover; or the Red Mile, which is hyped up across all the Settled Systems as a violent blood sport, but even on the hardest game difficulty, is just an underwhelming gauntlet with inconsistent music and occasionally dotted with creatures that you can simply walk straight past without any worry.

The game feels like a neverending series of fetch quests, so long as you're not working on the main quest.
The Bethesda RPG's classic Follower system makes a return, and while Crews are a welcome way of keeping all your followers together as you pilot across the universe, the Followers have never felt shallower than ever before - of all the available followers, it appears that the only ones with anything comprehensive to say or do are the 4 followers from the main "faction," Constellation. These are also the only romanceable NPCs, but that's a lesser complaint.

There are a ton of procedural elements in the game, which are awesome for every time you first discover something new, but you will quickly begin to realize that once you discover one thing, the entire game is like that. Endless copy-paste dungeons in a procedurally-generated universe, each with the exact same layout with the only difference being the loot found. (Not even procedural modular elements are found, everything is exactly the same.)

The procedural elements of the game, generally, do not lend themselves to exploration as the game would like you to believe. Yes, most of the planets in our galaxy are uninhabitable, and it would be unreasonable to land on a barren planet expecting anything other than a barren planet, but despite reminding you that exploration is quiet, there's almost nothing to do with this empty space that takes forever to traverse.

Mining for resources feels futile, as all you can really do with it is mod equipment (which you will often find loot that out-powers whatever you just spent time building), or build Outposts which, disappointingly, have a pitifully small amount of things to do. Out of the hundreds of planets, you can only build a small handful of Outposts, the best of which all you can really do is place people there and mine for resources.

While this isn't THAT sort of game, the game feels it would truly benefit from more survivalist-oriented mechanics, especially to encourage planet exploration and resource collection/management.

Radiant quests feel repetitive, shallow, and unmeaningful, especially thanks to the endless copy-paste structures throughout the planets.

The way the game has you marry the Fast Travel button is also an incredible detriment to immersion, with constant loading screens to go nearly anywhere... at some point, you get used to it, but I would be lying if I said it wasn't tiring for the first few dozen hours - especially with the incredibly high amount of fetch quests the game throws at you, increasing the frequency at which you must sit on loading screens.

It is unfortunate that the open-world format does not work the best for Starfield. Typically, in Bethesda open-world games, you are given a point to discover, and along the way you naturally stumble upon points of interest to your destination. The planets in this game, essentially, only feature one MAJOR point of interest that you have to specifically choose to land on and visit, making the universe feel sparse and empty. Granted, it IS following the events of a major earth cataclysm, but it doesn't feel natural enough to suspend disbelief.

Space combat is clunky, as it really doesn't feel like you have any control over the outcome or any skill determines the winner, but rather a luck of the draw of what Upgrade Traits you have (e.g. Target Control systems to slow time and target ship systems, or whether you have thrusters to slightly evade incoming fire) and whether the enemy ships target you or your allies.

After several hundred hours with up-close dialogues that blur the background with everyone you speak to, the game can begin to feel a little claustrophobic, as well.

General combat, though, has never felt more satisfying for a Bethesda RPG. Fighting in different-levels of gravity, or even Zero G, is incredibly fun. The Starborn powers, while generally all just reskinned powers from Skyrim, are incredibly satisfying to use, and fit seamlessly into combat. There's a wide array of creatures to fight, and while they all generally fight the same way. Boost Packs are incredibly satisfying and fun, as well.

Overall, despite the bugs and design flaws, I don't regret the time I've spent on the game. It is slow, drawn out, and quite frankly, that is a beautiful experience. The game doesn't necessarily lack for not having something that it's not setting out to accomplish. Starfield nails the experience of exploration, as a love letter to the "Blackest Sea." However, as a game that insists on sticking to its roots and barely straying from the Bethesda RPG format, it falls short on many aspects that could make it its own truly unique experience.
Do I recommend this game? Generally, yes. However, only if the experience of quietly exploring enormous, undiscovered worlds in the Bethesda RPG format is the experience you're looking for. It's truly hard to feel the game has truly come into its own in the ways it intended.

Mario Maker meets Doom. What more could you want?!

There’s plenty of levels and stuff in there you can find for your personal playstyle, whether you want to play casually (Normal (easy) bases) or challenge yourself (Brutal bases). If you find something that’s not for you, you can just move to the next one until you get enough upgrades, equipment, and become experienced enough to tackle on harder ones!

An incredibly immersive and terrifying experience, where the experience of discovering and making sense of the world around you is as much a feature as any other game mechanic.
Stunningly mesmerizing and horrifically unnerving, Scorn takes you through a breath-taking and horrific journey at such a deep level of introspection that no two players would ever walk away with the same experience and conclusive thesis.

The real horror of Scorn isn't the plentiful and tasteful scares it provides, or the paralyzingly terrifying immersive atmosphere, but the very morbid introspection that the game begs you to ask yourself along the way.

The game has an incredible vision, and executes it with finesse. Atmospheric, with incredible pacing, this horror "battle royale"-esque game offers a massively immersive and surreal experience, where it's a joy just to attempt to win, even though one may never win. The process is a fun journey. What the game suffers from, however, is a lack of end game variety - don't misunderstand, the amount of variety and options and randomness is incredible and of a huge breadth - no two games feel the same. However, for as large a variety the process to the end game has, the "big bad" at the end in the game's current state is only one of two boss variations, which kind of puts a damper on the excitement and mystery of each trial.

The only other thing of note, is that the game appears to offer controller support to an extent. And by that, it's literally unplayable - when a controller is plugged in, the interface changes to show controls for controller, and the cursor can be moved with the control stick, but in the end, that is ultimately all that can be done with controller. It sends mixed messages and signals, and especially considering that the game is also available on Xbox, is beyond confusing. The promise of controller gameplay is tantilizing and sweet, and overall Hunt could really attract a larger crowd with proper PC controller support.

Overall, this game is a plus, and the dedicated development and design really knows the vision of the game and how to execute it, and where to go from there.