Destructoid

Hellbound's campaign is roughly three hours long, with secrets to find in each level and several survival missions that unlock after the finale. That's it. Again, Hellbound is pretty upfront with what it is. If you've already burned through most of the homages I listed above, give this a shot.

This could have easily ended up as an embarrassing attempt to relive and milk the franchises’ past success, but it turned out to be something much more enjoyable. It’s not the flashbang of passion and possibility that the original offered, because few things in this world are, but it feels like it has something unique to say, and I think most fans will walk away happy if they take the time to listen.

It feels really weird for a new take on Crysis to be releasing so close to the next generation, behind the curve. For those of you who are curious about this series and want to jump in, you could do a whole lot worse on the Nintendo Switch. If you want to play Crysis in the most shiny way possible and own another platform, it's best to wait.

The Tengu's Disciple is more of the same and that's largely okay. The historical figures and all-new yokai are memorable, the two main missions have good pacing, and the Splitstaff is just plain cool to wield. That said, I can't help but wish the story left a stronger impression – it ends a bit too abruptly. Assuming Nioh 2 has a similar DLC trajectory as Nioh 1, I don't expect to put this game down in 2020.

That’s not to say Hotel Sowls isn’t a serviceable game, it’s just that there isn’t much to grip you beneath its unique aesthetic. The art style, the atmosphere, and even the music are all very much on point. It’s easy to get sucked in by what it displays on the surface. However, beneath the veneer, there isn’t much that makes Hotel Sowls shine.

Void Terrarium is tough, and it can be unforgiving with a lot of different systems to keep track of. But it's always a satisfying experience. It's not the greatest roguelike/Mystery Dungeon title I've played, but it might just have the most rewarding gameplay loop I've seen in the genre.

By comparison, Destroy All Humans has met an enjoyable-enough-but-certainly-not-amazing fate. That's fine, but it's tough to not feel as though something truly great could've happened with some more creative license. If nothing else, this remake left me thinking that Destroy All Humans is still a viable property and that a brand new game might not be such a bad idea. But maybe that's because an extraterrestrial has control of my cortex.

When it comes to actually providing a fun experience, that’s a bit more shaky. While the exploration based framework and interconnected world comes off very well, the combat is such an unavoidable drag, and since that is such a core part of gameplay, everything is brought down with it. There’s still a lot of value to be found if you’re a cyberpunker, but otherwise, the future is bleak.

When it comes to gameplay and longevity, Death Come True suffers from the exact same issues as many titles in the FMV genre without breaking new ground. But Izanagi's engrossing tale of love, regret, and murder redresses the balance with superb performances, dramatic twists, and a genuinely impassioned climax. It's a short, somewhat expensive trip, but one worth taking when it hits your personal price-point.

If you're looking for a cathartic pick-up-and-play game with little to no fat that you can slip in between this summer's massive story-driven titles, that's Carrion all the way. It's a devilish snack.