Destructoid

It is a game of pure mechanics and of player skill. It's confusing in a good way and difficult in the best way. From a game design perspective it is perfect, but the ambiguity will definitely push some players away. Those who stick with it, however, will experience one of the most pure and wonderful videogame experiences in a long time.

It's a good little game, but it's nowhere near as special as it used to be, and those hoping for more flexibility and interaction from their new political careers will feel let down by what is, ostensibly, just more goalpost shifting and further excuses to get you to shake bananas off trees.

Men's Room Mayhem has a great premise that expands upon the initial concepts of Flight Control, but the monotony quickly sets in due to poor pacing and a lack of mode variety. With a few simple tweaks, it could be a true "must have" on the Vita marketplace -- mostly given its competitive mobile pricing. But as it stands, don't go in expecting much more than a repetitive, yet occasionally fun time waster.

The understated, fantastically animated pixel art -- presented side on and zoomed out -- and excellent, quirky jazz soundtrack matches the game flawlessly. It's a homage to noir and neo-noir, yet it's an irreverent game that doesn't take itself too seriously. Dialogue is smart and snappy, with Conway being a delightfully sarcastic private dick. While there's little time for characterization in this all-too-short romp, it still manages to ooze personality from every pore.

While the impetus for some of the head scratchers might elicit some chuckles, they rarely reach the lofty heights of the clever puzzles found in the the likes of Monkey Island, and they certainly aren't as engaging as the multi-layered brain-teasers found in modern adventures such as the recently released The Night of the Rabbit.

There are certain moments in this game that are sure to take your breath away. There is a strong emphasis on the sense of scale at just the right times to create memorable impressions and feelings of insignificance in the great void of space. Players may find themselves occasionally thinking more about the great emptiness of their surroundings instead of the next puzzle.

Yet for all its flaws, The Night of the Rabbit may still be Daedalic's best adventure game. The issues are numerous, but the significant size of the game also offers up a lot of opportunities for it to redeem itself, which it does manage. The Night of the Rabbit still contains all of those classic "ah ha!" moments when you, at long last, cease to be dumbfounded, and the novelty of the magic spells surprisingly doesn't wear off, continuing to be implemented cleverly throughout the long experience. With a lot of patience, you could find yourself having a bloody good time.

Whether it's true or not, Fuse does feel every bit like another victim of the heavily focus-tested, leader following, perpetually terrified mainstream game industry. It's every cloying and desperate element of the retail console market, brought together -- fused, if you will -- to create a factory standard example of a game that tries to be everything the hypothetical mainstream consumer drools over, and ends up as nothing remarkable.

It's huge, looks great, and it has a nice balance between automation and micromanagement. Lamentably it's also buggy, with crashes and glitches raising their head frequently -- though admittedly less now, since it's been out for almost a month -- explains its systems poorly, and it becomes extremely boring only a couple of hours into a game.

Leviathan is best enjoyed if you already have friends playing. It's a game that offers little to the solo player, despite the single-player campaign. With pals, it's an entirely different, much more entertaining experience. If you do have a tablet, then I recommend picking it up for that rather than PC, purely because of the much lower price.