The game starts compellingly, with you taking control of a middle-aged to older character (from a minuscule selection). That’s not something I recall too many games doing (though the grief angle certainly rings a bell), and it makes Moonglow Bay stand out somewhat. So does the Eastern Canadian coastline setting, presented in voxel form, no less. With a unique character and setting, Moonglow Bay seems set to deliver a cozy fishing adventure RPG.

Sadly, once the opening narrative and tutorials conclude, you’re left with an element of aimlessness. Do you want to talk to the residents of the town? You’re encouraged to, though many (perhaps most) have little to say, at least initially, and aren’t very interesting beyond dropping tidbits about fish. Do you want to visit the various buildings? I’m shocked that such a big town has so little to enter; a real kick in the pants after slowly making your way to a spot on the map. Seriously, I get we’re playing an older character, but this sluggish walking speed soon grows weary. However, this might be a random glitch because it doesn’t always happen. In any case, the entire game starts a little too sluggish for my liking. At the point where it should be hooking you, you may find yourself turned off before getting to the better elements, like getting a boat and battling bosses.

Of course, you’re not just catching fish, but also cooking them, because what would a “slice-of-life” game be without that? We found the timing tricky, although both the burnt and undercooked meals still looked great. Perhaps this element was, may I suggest, undercooked? If real-life bankrupt towns depended on my cooking for survival, we’d be in trouble.

The voxel graphics are an acquired taste. Even as someone who enjoys these, they seem slightly out of place here. Meanwhile, my wife very much disliked them, which killed the potential for co-op play in the Gould household. The presentation can lead to getting stuck (again, the lead character isn’t agile), bugs or not. Thankfully, an in-game option lets you spawn at a safe point.

Something that should not be an acquired taste is the soundtrack. Lena Raine (Celeste) came through with compositions that kept me playing longer than I might otherwise. My tip is to lower the sound effects and dialogue in the options while cranking the music.

For all its original elements, Moonglow Bay surprisingly ends up taking popular elements from other games and not improving them. Now, if you’re looking for another game with a plot shaped by grief and haven’t had your fill of fishing, cooking, selling/donating, taking pictures, etc., this is for you. For me, it wasn’t what I expected. It might’ve worked three years ago when initially released on PC. But as a 2024 release on Switch, it’s too cliched and stagnant for me to give a broad recommendation.

Moonglow Bay failed to hook me, but as the debut game from a small studio, it’s a solid enough start overall for the subset of gamers who haven’t yet had their fill of titles like this. I hope the team can tighten their focus and gameplay mechanics for their next release.

The post Review: Moonglow Bay (Nintendo Switch) appeared first on Pure Nintendo.

The plot is…I forget. Something about a mad scientist and his robot army? The story hits familiar notes. Dark energy, a city under attack, the world needing saving. The mix of full-screen art with animated cutscenes works to get you invested early, and exposition (with some sparse vocals) at your home base between missions suffices.

Berserk Boy is marketed as a mashup between Mega Man and Sonic. I respect the truth in advertising. I reached a point where I started noting specific instances that reminded me of parts in games from either series. Once I hit double digits, I stopped. In the end, it didn’t much matter. Both those series are among my favorites. And Berserk Boy is among the better games I’ve played in 2024.

Berserk Boy may have familiar speedy gameplay (frantic at points), but it also has the fluidity to make it work. These controls are tight, and the various moves (and changing forms) shouldn’t be too overwhelming for those familiar with games of this style. Any run-and-gunner will soon find themselves racking up combos. The marketing mentions, “you’ll be able to play for big scores,” and sure enough, high scores are a draw. I found myself replaying missions in hopes of improving. Familiar fun is still fun all the same.

That said, after the initial thrill had set in, repetition followed, and sooner than I expected. But the presentation excels, which helps lessen any monotony. Seriously, this is an impressive game to both look and listen to. It fares even better in motion than still shots can convey with animation and speed. And the boss fights offer a fun, fair challenge.

At 7 or 8 hours, Berserk Boy may overstay its welcome slightly for this type of game, although some of that depends on how much of a completionist you are. But it’s a fun game to play a mission here or there, and coming back to it, even after a gap, you shouldn’t feel lost. Also, you shouldn’t feel overwhelmed difficulty-wise, as some welcomed options can make the game more accessible for newer or less experienced players.

For fans of Mega Man, Sonic the Hedgehog, and a host of platforming classics, it’s hard not to recommend Berserk Boy. The plot may not turn heads, but the fluid controls and presentation should. Will this game make you “Go Berserk?” Perhaps. Here’s hoping for an 8-bit demake to follow.

The post Review: Berserk Boy (Nintendo Switch) appeared first on Pure Nintendo.

As a U.S. gamer, I mainly knew Minter for his habit of attaching himself to unpopular hardware like the Atari Jaguar and VM Labs Nuon (yes, Trev owned both). So, I was curious to experience some of his other work with U.K. computers firsthand. Taken as a truncated bit of gaming history that gives access to lesser-known and/or harder-to-find works, this package is a success.

With over 40 games, there’s no possibility of covering even a quarter of them within the confines of a traditional review. This is okay, especially in this case, as there’s a real sense this collection is more focused on Minter as a person (for better or worse) than his actual software. As such, it should hold extra appeal for existing fans of the Yak.

As for most of these games, they leave me with a sense of “you had to be there.” They are dated and thus show their age. Yet, as products of their time, I did get some entertainment from viewing these through the lens of the early ’80s, a period I was too young to remember. A lot of these are takes on games that were popular at the time. Some feel too similar (ports excluded), some too slow, others too fast. Even Minter is humble enough to admit that some of his early games missed the mark in development time, difficulty curve, speed, and other areas.

I’ll highlight a few of my favorites. Note that plenty of the games in this collection live up to the company name, with llamas and other furry creatures copiously featured. In fact, the quote to open this package says, “If you load up one of my games and see a big camel or whatever, you know immediately who has created it – I’ve always tried to put a bit of myself into my games.”

Laser Zone (whose llamas are limited to the title screen) is a 1983 shooter that succeeds by being more intuitive and less complex, though still challenging to master. You control a pair of cannons, one on a horizontal plane and the other on a vertical, and must change between them to eliminate the advancing aliens. Two versions are in this package.

Meta-llamas has some similarities to Laser Zone, and not just because it’s also an ’83 shooter with two versions in this package. Left or right controls your llama, while up and down controls the force field above. Ricochet your shots successfully.

Colourspace is an early Llamasoft light synthesizer with nearly a dozen head-bobbing music tracks to enjoy. The demo mode is a fun enough watch, but the amount of control the player is given over what they can see is admirable and helps promote replay value. Adjust the speed, alter the colors, and more. Just be careful if you have sensitivities to busy lights.

Llamatron:2112 is “Considered by Llamasoft fans to be one of its best games.” A port of an Atari ST release running on the Jaguar, it’s a critter take on the popular Robotron:2084. In my mind, any (all of these) were worthy of a remaster. But as opposed to the prior collections, which had multiple, this collection only has one: Gridrunner.

Finally, we have Tempest 2000, a game that has seen sequels, and one which would make this package a must-own had that game not already been made available in Atari 50: The Anniversary Celebration, also from Digital Eclipse. When covering that collection, I wrote, “1994 brought a Jag game that everyone loved in Tempest 2000. A great tube shooter that still feels unique; I actually prefer this version over Tempest 4000, thanks to the AI Droid implementation and multiplayer.” The same remains true.

I only have a couple of issues with this package, one slight and the other significant. This is an M-rated title for the sole reason of “Strong Language.” There are occasional bits of infrequent cursing in the videos that are unnecessary and could be a turn-off for parents trying to introduce children to games of their youth. I hope future releases stay between that E10+ to T range.

Something more notable is this package’s limited scope. The Jeff Minter story presented here is an abridged version. The final chapter, in effect, ends on Tempest 2000 with “Later years” limited to a 5-minute video focussed on Jeff’s partner rather than any of his subsequent works.

It’s frustrating to see brief footage of games not properly represented in this collection, potentially leaving casual players wondering about Minter’s accomplishments over the last 30 years. Digital Eclipse ignores his better work save for a gameography listing with (if fortunate) a few screenshots.

Granted, some of the omissions are understandable, if no less disappointing. Defender 2000 missing due to licensing issues is one thing. But why not have the Jaguar VLM with some public-domain music? Where is Tempest 3000 and his Nuon experiences? Even if these were added, we’d still have a 20-plus-year gap. Part of the reason The Making of Karateka worked so well is the title made clear what it was. Any games beyond the titular one were bonuses. But no moniker in the title indicates that this only covers Minter’s early years. My advice to Digital Eclipse is to be more mindful of how they present these releases in the future. 

One could argue the compilation that started this all, Atari 50, was also incomplete, with Activision games being MIA for one. But with a generous amount of games (over 100) covering a broader number of genres across a longer time period, that gripe was much more minor than it is in the case of the Jeff Minter Story. This collection is $29.99, and I wonder how many would’ve paid extra to get a more complete package. After playing the prior releases, it’s reasonable to have expected more of a deep dive.

Even if many/most of his early games don’t seem like they’re for me, Minter seems like a pretty cool guy. He’s quirky, with a more narrow focus likely to keep him a niche developer, but I resonate with much of his thinking. His design philosophy of replaying games just because they’re fun, and opinions on modern difficulty curves are two examples. Heck, they are part of why I’m still playing Tempest 2000 30 years later.

The latest, though not greatest from Digital Eclipse (due to some lapses in storytelling), Llamasoft The Jeff Minter Story, still offers a good experience. For a certain demographic of gamers, it could be a nostalgic-filled romp. Those with an appreciation for gaming history will be entertained, even if the shortage of content makes this package feel more like a volume 1.

The post Review: Llamasoft: The Jeff Minter Story (Nintendo Switch) appeared first on Pure Nintendo.

One area where they missed the boat, though, is the plot. Neither of those CD-i predecessors could lay claim to brilliant stories, but Arzette doesn’t even seem to try. The overly long starting tale would be complete trash, except it’s a deliberate spoof. But the characters you meet as the titular princess searching for the eponymous jewel shards elevate it. There are definite touches of “it’s so bad it’s good.”

From the animation, drawing, and vocals (including some original voice actors in new roles), it’s clear that Arzette is a celebration of cheese. This random patchwork of kingdom residents will leave an impression from their exaggerated movements, over-the-top voice work, and just bizarre problems that serve as side quests. It’s a drive to see who you’ll bump into next, even more so if you’re familiar with the source material.

Of course, the bread and butter is the actual gameplay, which does enough to keep you invested as the initial novelty begins to fade. The pair of original Zelda games Arzette draws inspiration from were more in the style of The Adventure of Link on NES. So, your action-adventuring will take place from a side-scrolling perspective. The variety of enemies will need dispatching in different ways. Also, plenty of secrets, some visible though initially unreachable behind dark tapestries, others well hidden, wait to be found.

The gameplay progresses in a fine, if unexceptional, way. I found it had points where direction was in want, where I had to retread areas looking for how to trigger what came next. Part of this may be my playing the game while dealing with COVID-19 when my brain had a more-than-usual fog. 

The proceedings get a boost from the ton of faithful nods, ones those who only know these games from YT might miss, but those of us who’ve played the real deals will smile upon. Of course, being able to play with a proper controller helps. The CD-i paddle (of which publisher Limited Run has a retro-inspired variant for sale) was never up to snuff.

Beyond the drive of quirky characters, there’s also the desire to see which areas you’ll unlock next. The hand-painted backgrounds of the CD-i games stood out positively, and the same is true in Arzette. They even brought in someone who did art and background paintings for the originals. Augmenting the visuals is some fine music. While the vocals may draw much of the press, the soundtrack is strong. It made returning to familiar stomping grounds less annoying, and I found some of the tunes getting stuck in my head. Yet again, Arzette looked at an aesthetic stand-out from the games inspiring it (CD-quality music) and imitated them. If anything, the tunes fit better here, absent the Hyrulian themes.

Even with all these positives, I find myself wrestling with the question, “Had I not had a fondness for the CD-i games, how much would I enjoy Arzette?” After some time, I can say that I would still have some definite enjoyment, albeit less. The (at times aimless) gameplay didn’t go far enough to truly grab me where I could say, “this is great,” but neither did it do enough wrong to discourage (though thoughtlessly having a single save file came close). These results are probably the best I could hope for, given the source material. Arzette is no Hotel Mario homage, after all (though that game does get a small reference).

Arzette: The Jewel of Faramore parodies a pair of uncanonical Zelda games while ensuring its experience is more than a one-note joke. The realization of these efforts makes for a good game, but one whose appeal may be limited. Still, the attention to detail here demands respect. How about following up on this release by mocking CD-i’s top-down take, Zelda’s Adventure, next?

The post Review: Arzette: The Jewel of Faramore (Nintendo Switch) appeared first on Pure Nintendo.

After a long initial load, you start on the surface of an alien planet. There is a mandatory tutorial, and you’ll need it as you learn some of the jumping, drilling, and certain enemy types in store for you. I don’t know if it’s supposed to convey compensation for the weight of the drill, but jumping seems a tad off. Expect to overshoot enemies or land just shy, at least early on. If there’s a story for why you’re here, it’s not evident. That’s a shame, as the locales could make for some sci-fi plot fun. Working your way from the top to the bottom, digging with your drill, and taking out enemies has to be its own reward, which ends up being the case.

My early instincts were to go for the speedier route, avoiding enemies where possible while concentrating more on falling and dodging. At least in the initial goings, the speed made it hard to tell which enemies to fall on with the drill versus those that needed a fueled drill with more strength. I wish that mechanic got introduced a bit later. But you’ll need to engage with enemies quite a bit, as abilities (which tend to be pricey) are acquired by defeated foes paying out pocket change. So, combat soon moved to the forefront, and is thankfully satisfying.

An issue I have with this, though, is particular hit detection. Your drill is a good size, but often, in practice, you must hit enemies with its tip. Frequently, I took damage while wondering why the enemy didn’t die. It’s never good when I repeatedly feel failure is just as much the game’s fault as mine. This quirk is extra annoying when enemies with exaggerated speed get introduced. Of course, some enemies (those exploding into poisonous gas clouds) are legit best avoided. Practice makes perfect.

For me, UDO wasn’t “easy to learn,” as claimed. It took me a while to come to grips with the nuances so I could advance past the first world. More successful was the “super tight and rewarding gameplay” promise. While I have issues with hit detection, fuel consumption, and certain enemies, the controls click responsively. And it is rewarding as you start buying items and advance beyond the same opening levels. Each time you fail, you’re presented with stats showing how long you lasted, pickups acquired, and more. These give the game that “certain something”…the element that every arcade-type game wants—”one more time”—but only some can lay claim to. When the mood hits, a game or two of UDO can turn into quite a few more.

Still, more polish would’ve been welcomed. Beyond some of the things I already mentioned, there are other smaller (but no less noticeable) ones. For instance, when trying to scroll amongst plentiful skins, you can’t just hold left or right, but need to tap repeatedly. These little things add up. It boils down to execution. Udo has a fair amount of pieces that could’ve been implemented better to turn a good game into a great one.

I can’t fault the presentation, though. The music is solid, fitting the arcade vibe the game aims for. The pixel art works. The backgrounds have detail, and there is even more color as you advance despite the underground setting.

UDO: Unidentified Drilling Object manages to have some success despite itself. While its numerous little issues accumulate into some unpolished real annoyances, it has that “one more time” element down, even with repetitiveness. I’m convinced there’s enough good here that a sequel should jettison the roguelike confines. Udo deserves to be a proper platforming adventure where it can drill a more unique identity.

The post Review: UDO: Unidentified Drilling Object (Nintendo Switch) appeared first on Pure Nintendo.

With a busy menu screen (including menus within menus), I recommend starting with Quick Race to get a feel for things. Even then, the process is anything but. You start with selecting your class of vehicle. Getting them all on screen leaves stats illegible, but even when it’s limited to five at a time, you’ll see some very close in speed and weight. After that, you select a car. Then a track. Then game settings. Usually, I have a great appreciation for a multitude of choices and options. But this menu system and UI are seriously clunky and slow. I felt exhausted before my engine even started.

Once racing eventually began, I felt let down. While the zoomed-out look is nostalgic, the fuzzy visuals lack personality. Further, the sound effects are shrill, and there’s no music. For a game that already made a subpar impression, the audio/visual package does nothing to improve things.

When reading over our positive review of the first game, I zeroed in on these comments. “The sheer amount of options available to you inevitably means that some will be less successful than others, but that does lend a certain versatility to the game. You definitely get a lot of playtime for your money just figuring out which vehicle you like best ” This is even truer here. Options are even more plentiful, but I question their success or even necessity. And while potential playtime is ample by exploring all the vehicles, is it fun? Given my boredom, I’m forced to suggest no.

For the curious, those with more sticktoitiveness, or those who value the quantity of content over the quality, there’s plenty here beyond tracks and vehicles. A career mode (multiple additional modes stem off it) with achievements, championship mode, multiplayer, and time trials (complete with leaderboards for Switch online subscribers) await those unaccustomed to better racers.

“Ultimate” in terms of content and options but not in enjoyment, Ultimate Racing 2D 2 makes a poor first impression and fails to recover. If it looks interesting to you, I’d suggest its predecessor for half the price. This game has more to it, but it’s a case where less would’ve been more. I hope the devs take a prolonged pitstop before the third entry.

The post Review: Ultimate Racing 2D 2 (Nintendo Switch) appeared first on Pure Nintendo.

As the moniker indicates, the developers decided to add a fantasy angle alongside the time period approach. But all this does is make the game feel somewhat messy thematically. I can appreciate the struggle when multiple ideas are on the table, but it would’ve been better to stick with (and aim to perfect ) the original rather than trying to shoehorn something that doesn’t fit.

To illustrate, I’ll pick just one era, The “Magical” ’80s. My wife and I got a real kick from seeing all the pop culture nods in this era. Atari 2600s hooked up to box TVs, filming of a music video clearly meant to be “Thriller”, and a Marty McFly look-alike, complete with his red “life preserver,” to name just a few. All these fit. Why hunt through witches, ghosts, and all these other random elements that seem to have little, if anything, to do with the ’80s? Sometimes, less is more.

It’s a credit to the core gameplay that we still spent several hours trying to beat the game. And ultimately, story concerns are highly subjective. But when it comes to lack of polish, that’s the sort of thing that’s hard to overlook. Hidden Through Time 2 has multiple bugs, at least on Switch.

I’ll list a handful we found in no particular order. Story text vanishing (though narration remaining), unfound items in the search bar changing to blank empty spaces, and showing a clear message claiming we found every objective when we hadn’t. These demonstrate the aforementioned lack of polish, though I want to stress the game remains fun despite these.

But worse are the bugs that impact the gameplay. The hitbox detection is so finicky that we couldn’t finish at least one level because the item we needed didn’t register. Clicks merely affected a character that evidently was standing too close. We even tried playing undocked, but the touchscreen worked sporadically here. Our advice, especially when manipulating buildings to check each floor, is to be persistent. Find that sweet spot, and pull a Goldilocks on the button (don’t tap too short or too long).

Graphically, this sequel stays true to the winning looks of its predecessor. In fact, allow me to quote from my prior review, as it still applies. “It’s a bright and colorful kid’s book brought to life on-screen. Seeing all the animals and people milling about is a real asset. You can click almost anything and get an animation, a sound effect, or both.”

A fresh visual touch involves altering the levels. Each can change with a button tap to a different time of day or new weather condition. Beyond graphical variety, this also positively impacts gameplay, as certain items are found only under specific conditions. The lone drawback here is that I thought my Switch would melt most times I changed things. The load times and stutter really stood out. Speaking of which…

It took us 40 seconds just to load up the game to its main menu—and frequent lengthy load times were consistent throughout our play. I get there is a ton of stuff on screen (this is a busy-looking game, in a good way), but if you’re impatient, it’ll bug you. Also, don’t expect smoothness when panning around the most sizable maps.

For all these observations and gripes, the alteration you can make to each level—referred to as ‘Reality-Shift’—is a key addition that adds a significant amount while making this game feel like a proper sequel. It makes for a follow-up with more challenging content, leading to a lengthier experience. While I can’t recommend it over its predecessor, if you enjoyed the first, you’ll enjoy this sequel.

Another improvement is for the creative types—namely, a tutorial’s inclusion. Once you’ve finished the main game, you can try your hand at creating levels, now with more ease. I lamented the lack of a tutorial in the first game, so to see it here is appreciated. It gives the game legs. If DLC arrives similar to the first, this will further extend playtimes.

Hidden Through Time 2: Myths & Magic is fun, but some significant issues (at least on Switch) make it fall slightly short of its predecessor. It might be better to grab this one on sale or when DLC arrives (hopefully with a performance patch). Creative types might not want to wait that long.

The post Review: Hidden Through Time 2: Myths & Magic (Nintendo Switch) appeared first on Pure Nintendo.

For the unacquainted, Image Fight, its sequel, and its spinoff are arcade-style shooters. The original debuted as a coin-op in 1988, the sequel was a PC Engine Duo exclusive, and the spinoff returned to the arcades. Fans of ‘80s shooters will want to take note, especially with these games having some similarities to the better-known R-Type, also developed by Irem.

I was a bit familiar with Image Fight from its NES port. That was the first one I checked out. Of course, it doesn’t compare to the arcade or PC Engine versions visually or option-wise. But I think Image Fight does compare well to many other NES shooters from the late ’80s, reminding me slightly of fan-favorite Life Force. Image Fight is one of those games that puts its best foot forward where the opening stage looks the best. It’s nice being able to compare some different versions.

A curious thing about all versions of this game is the need to shoot power-ups before acquiring them. If you touch the icon prior, you’re dead. There’s no life bar or powering down here; it’s one and done. The high difficulty reflects the quarter-popping origins of the arcade or the “NES hard” era, depending on the version.

My tips are to get used to juggling the speed and to have no fear of taking advantage of the rewind function (the latter I recommend for every variation in this package). Image Fight is one of those games you must learn through practice. Certain sections are guaranteed failures with the wrong powerup, for instance. So, rewind can help initially, at least until you know the games well enough to use it sparingly.

Speaking of power-ups, Image Fight employs the red and blue icon setup, which was not uncommon for shmups of that time. What was a bit more unique back in the day was the red being based on the movement of your ship. This ultimately versatile approach takes time to adapt to, and it’s unlikely to be mastered during early playthroughs outside of genre experts. But it proves very capable, especially when dealing with the varied enemies that swoop in from behind your ship. Depending on your ability to retain your powerups can make Image Fight seem easier or harder.

While the original deserves the most discussion, simply for launching the series, the sequel is even better. It was an exclusive, though, so there is only a lone version. That’s okay, as the TG16/PC Engine intrigued me in the early ’90s enough that I picked one up in the late ’90s. I no longer own the console, but the machine was home to numerous quality shmups.

With the moniker Operation Deepstriker, Image Fight II has expected CD features. There’s a fair bit of story (alien armada on the move), and while the plot and Japanese vocals mean little to me, the cutscenes are another story. Even when slowing down the proceedings some, I relished them. Postage stamp-sized windows matter not when you can see emotion in the character’s eyes. The art and color pop in a way that only NEC hardware could do at the time.

A similar game in many ways, it has many of the same issues as its predecessor. But the aesthetic improvements go a long way, for sure. And the game does have its own unique difficulty. It’s harder to tell which parts of the background are damaging, plus what’s hitting you, though this might stem from more detail. It’s a tradeoff that only adds to the challenge. Also, some boss fights seem a bit bloated, though memorable.

X Multiply feels quite sizably different with an adjustment in perspective and even more detailed, eerie backgrounds. The change from vertical to horizontal means more cramped movement, though this difficulty is offset somewhat by having more powerful weaponry.

While I enjoy all the soundtracks in these games, I feel compelled to mention that this one, while ace, sometimes feels a tad off. I get the creepy vibe, but it occasionally sounds slightly too “catch your breath,” which clashes with all the enemies surrounding you. Speaking of soundtracks, I wish this collection allowed for listening to in-game music tracks. This omission makes the package feel a smidge lacking compared to other Switch compilations. Box art, flyers, and even more game versions could’ve also rounded things out.

This package is 24.99. Keep in mind that the original Image Fight and its spinoff are available individually as part of the Arcade Archives for $7.99 each. If you already own them, I doubt you’d want to spend full price for the PC Engine game alone. But if you have either of those AA games on your wishlist, this trio package is convenient. It’s even getting a physical release, although I’d advise caution from Strictly Limited, a company with a subpar reputation known to overpromise and underdeliver.

While the number of games in this collection pales next to many other Switch compilations, shmup fans up for a challenge probably won’t want to sleep on this one. Irem Collection Volume 1 offers some entertaining fun that will put your skills to the test. How about some love for Irem’s In The Hunt next?   

The post Review: Irem Collection Volume 1 (Nintendo Switch) appeared first on Pure Nintendo.

This update feels pretty darn different, with a twin-stick setup. It’s not inherently poor (I enjoy plenty of twin-stick shooters), but calling this Berzerk is a stretch right out of the gate, gameplay-wise. Those old enough to have played Berzerk in the arcade or on the VCS are used to a single joystick, which gave the game a challenge and style that’s missing here. Yes, Berzerk Recharged retains the single-screen maze-like layouts, with plenty of robot heavies to shoot. And Evil Otto is still a smiling/invulnerable looming threat. I saw him much earlier and more often than I expected.

The Rechared staples are here, but is that a good thing? Single life setups. Missions that are mostly the same (“Destroy all enemies”). Music that’s good but overly familiar. Power-ups that are decent but don’t add much substance. Settings for new (admittedly welcome) features like inverted controls, leaderboards,  and vibration, but not for game variations from 30-plus years ago. At the risk of repeating myself from early reviews of Recharged games, if you’re going to revive a classic, don’t try to hide what made it a classic from the outset.

Berzerk: Recharged lacks the one-more-time vibe of the original. I should’ve busted this review out weeks ago, except for my struggles to play it for more than a few minutes at a time. I should stress that while Atari has let the PN team down with the Rechared series more often than not (except David), high-score chasers who don’t know these original classics will enjoy them more. The same is true with Berzerk. So, if you want to view the PN team as “old men yelling at clouds,”  that’s fair enough.

I’ve genuinely attempted to click with Berzerk: Recharged (and the Recharged series overall). But, after many weeks, it’s clear I never will. This game doesn’t deliver what it promises, which is a “revival of an arcade classic.” Not only does it not feel like the original, but it’s missing many of the options and variety offered by the classic home port. Players who never experienced Berzerk in the ’80s will enjoy the shallow twin-stick shooting of this reimagined take for a time, at least (even more so when playing with a friend), but this is an average game at best. Atari’s curious approach with the Recharged series continues for better or worse, and it’s increasingly leading towards the latter. Evil Otto is smiling, but I’m not.

The post Review: Berzerk: Recharged (Nintendo Switch) appeared first on Pure Nintendo.

If you’re a new player, you might wonder if this is a good starting point. After all, there are nine previous entries on Switch (plus a starter bundle) to consider. If that’s the case, this review may be worth extra consideration, as I am also a new player, at least on Switch. I do recall one of the early PC games from over 20 years ago, plus a DS version over 10 years ago. Those were known as “You Don’t Know Jack,” and trivia-focused.

Trivia is still in this Jackbox Party Pack, but it shares space with four other games of mixed entertainment quality. We’ll briefly touch on each (in no particular order), but you should know from the outset that if you have a party of one, there’s very little for the solo gamer. The same applies to couples, as most of these games require three of four players at a minimum.

As mentioned, trivia is still present,  which makes sense as that’s what the series is known for. It’s been given a time-travel twist under the moniker Timejinx, which has you answering questions about what year an event took place and such. It maintains the classic style, is humorous, and better than I’m making it sound; it’s the game we revisited the most. Also, this game’s smooth credit song, by Elise Wattman, deserves at least triple digits in Shazam.

Another game is Tee K.O. 2, which challenges 3-8 players to “Make weird shirts…and LET ‘EM FIGHT!” The 2 in the title made me suspect (and later confirm) that this was a sequel to an earlier Jackbox Party game. Though I haven’t played it, I can’t help but wonder if series fans would rather see something unique instead of 20% of this package being familiar. Anyway, as someone whose least favorite task was designing t-shirts in Animal Crossing, you can imagine this design-focused Jackbox entry wasn’t the first game to jump out at me. However, more creative types who like to draw should find entertainment here. In fact, creativity is more the rule than the exception with this package.

FixyText channels your creativity and reminds me somewhat of the group game Circle Story. This is also the game where I feel compelled to remind you that the JackBox Party 10 is teen-rated. If “risky texts” aren’t your thing, be grateful that this package has family-friendly settings and profanity filters. I’m unsure of the legs this has, as I’d be more inclined to bust out pens and paper but remember, I’m a middle-aged gamer.

Dodo Re Mi is a rhythm game. While I like rhythm games more often than not, this one has yet to resonate with me. I see it being one of those love-it-or-hate-it types, with our group leaning closer to the latter. It doesn’t feel cohesive among these other games, and after a couple of plays, it was left to “two and through” status. Chalk it up to the Rock Band vibe, except substituting plastic instruments for cell phones. I like using ’80s synth or cowbells as much as the next guy, but questionable difficulty claims and song selection issues are too much. Seriously, while classical tunes are always great, is “Row, Row, Row Your Boat” near the top of most party playlists? Plus, providing you only single-digit choices initially with 30+ needing to be unlocked? Boo!

Hypnotarius might need more time in the oven. It requires four players minimum, and you may want even more (creative types) to realize its full potential. I find this game subpar on a conceptual level, as players get hypnotized to new identities. While the core gameplay can intrigue, you better get a character you can connect with. Finding the outlier amongst the group necessitates frank answers, and the temptation to be funny might be too strong.

I factor in the mixed bag of games, some long load times, limits for smaller groups, and even solo players still needing to log in on a separate device. Online limits are very much in place too, with “joining a video call happy hour with coworkers” being a clunky, limited-appeal setup in 2023. Add fewer options for less creative types, and my friend groups will be reaching for RiffTrax: The Game.

The Jackbox Party Pack 10 lacks the broad appeal of other party games, with too many of its games dependent on specific types of players. While it will probably find an audience during holiday vacations, kids on winter break, and so forth, fans who didn’t grab this release at launch might consider waiting for the right sale. Meanwhile, new players should check out one of the earlier entries. The original is less than half the price of this entry on sale, with more game options for smaller groups.

The post Review: The Jackbox Party Pack 10 (Nintendo Switch) appeared first on Pure Nintendo.