Without further ado, here are our picks for the 15 most disappointing titles of this year.

Forspoken

You could argue that Forspoken didn’t have much hope due to lackluster marketing and delays. Nevertheless, this was the newest title from Luminous Productions, with many of the team having worked on Final Fantasy 16 and a PS5 console exclusive for two years.

Unfortunately, after the demo and with the game, Forspoken revealed itself to have shallow dialogue and irritating banter, a bland open world and an unlikable protagonist in Fray (which is a shame given how interesting the story becomes later). Such was the response to Forspoken that Luminous shut down and merged into Square Enix after its DLC, In Tanta We Trust.

Redfall

Hi-Fi Rush and Starfield often come to mind when talking about the major Xbox exclusives this year. It’s not that everyone forgot about Redfall, but that they did so without much effort. At launch, Arkane Austin’s first-person co-op shooter had a suitably macabre setting and aesthetic to work off of but squandered it with tedious gameplay, completely barren environments with little to nothing going on, copious bugs, performance issues and a terrible plot with poor characterization.

Its quest design and so-called immersive sim elements are also an embarrassment. Subsequent updates have improved the experience, but Redfall is still a huge step down for Arkane Austin, especially after Prey.

Quantum Error

For all the strong survival horror titles that hit the mark this year, several missed the mark, and Quantum Error unfortunately qualifies. Despite some great lighting, the stealth gameplay feels tacked on and awkward, while the shooting is as generic as they come. The story could have been better if it wasn’t presented so poorly with its amateur cinematic angles and shoddy voice acting. Quantum Error ultimately feels like it warranted much more than the developer could deliver, bringing the whole product down.

Flashback 2

Microids’ sequel to the classic 2D platformer from Paul Cuisset shouldn’t have turned out this bad, but alas. Almost everything about the title is riddled with issues when it’s not just bad. Though the animations and aesthetics can be decent, the multitudes of bugs, horrendous aiming in combat, terrible dialogue, baffling armor mechanics, and half-hearted cover-based gameplay make you question everything. Perhaps the only mercy is that it isn’t too long…unless your save gets corrupted and you have to start over.

Call of Duty: Modern Warfare 3

It’s a meme of sorts to expect anything from Call of Duty, much less Activision, but this was a new Modern Warfare title. The previous two entries in the reboot trilogy offered some intriguing mechanics and memorable campaigns, even if the cracks were starting to show in the second entry. By comparison, Modern Warfare 3’s campaign falls apart almost immediately.

It’s mind-numbing Open Combat missions with boring objectives, a story that’s so by the numbers you can practically paint them in, a distinct lack of polish and embarrassing short playtime. This is from a franchise known to deliver quality cinematic campaigns more often than not. Zombies is slightly better, while multiplayer buckles under the weight of skill-based matchmaking, packet bursts and horrendous spawns.

Payday 3

At first, many were disappointed at being unable to play Payday 3 due to servers going – and staying – down for days at a time. However, after finally getting into matches, even as crashes and disconnects occurred, many were let down by the challenge-based progression, the lack of a pre-game chat, no offline play while solo, no lobby browser, a clunky UI, etc. Though it’s received updates to alleviate several issues, like finally awarding Infamy Points on heist completion, Payday 3 is still far from reaching the same heights as Payday 2.

The Lord of the Rings: Return to Moria

Return to Moria, at least the start, is brimming with potential. This is a new adventure in The Fourth Age, with the Dwarves retaking their home and facing a shadowy curse as they explore its depths. Some mechanics were also pretty unique, but it all fell apart due to jank, poor combat, terrible AI, lack of freedom when mining and some shoddy building mechanics. What could have been a Valheim-esque adventure in Middle-earth is instead an awkward meandering.

Crime Boss: Rockay City

Proof positive that loading a game with Hollywood actors doesn’t equal success (and many of the performances aren’t even all that great). While the shooting isn’t terrible, it comes at the price of stealth and missions that encourage going guns-blazing more often than not. Throw in all the bugs, terrible writing, repetitive objectives and general lack of polish, and you have a disastrous title that’s more like Takers than Heat.

Exoprimal

After playing the open beta, Exoprimal looked like it had potential as a dumb hack and slash heavy co-op game. However, the lack of content forced PvP, and somewhat repetitive objectives remained concerning up to the full release. Due to how the story works, events can feel disjointed, while the dialogue ranges from awkward to unfunny. There are some positives for those who want to smack dinosaurs and various improvements courtesy of patches, but Exoprimal feels like it could have done better with a stronger focus on pure co-op PvE.

Immortals of Aveum

A single-player-focused magical first-person shooter with an epic scale, talent like Gina Torres and an extensive campaign, that too with striking visuals? Immortals of Aveum seemingly promised it all and delivered on some fronts (Torres was quite good) but suffered with many others. Lackluster story-telling and graphical issues, particularly with HDR, made playing a headache in several ways. The shiny presentation couldn’t save the below-average gameplay with its damage-sponge enemies and an annoying gear grind. It’s a better experience technically after several patches, but far from delivering on the hype.

Atlas Fallen

You have to feel bad for titles like Atlas Fallen. Developed by Deck 13 of The Surge fame, it’s an action-adventure title with a double-A budget, a unique world and unique movement options (like sand surfing). The premise is wasted with underwhelming writing, and the combat, the most important aspect of the experience, is sluggish and shoddy. It also doesn’t help that the world doesn’t have much going on, even with some strong aesthetics on display.

EA Sports FC 24

It’s probably not that surprising in retrospect, given how the FIFA franchise fared over the years, but EA Sports FC 24 was an opportunity for a fresh start. However, while the gameplay remains enjoyable, it doesn’t improve enough, much less advance the status quo. Career Mode is still a rote affair, the new interviews are incredibly lackluster, and the presentation feels like it’s slumming in certain places. Some positives, like PlayStyles and the new UI, are worth mentioning, but if you’re a hardcore FIFA player hoping for some evolution, EA Sports FC 24 disappoints.

Layers of Fear (2023)

Layers of Fears, renamed Layers of Fear, is a remake of Layers of Fear and Layers of Fear 2. Sounds confusing? It’s also a sequel with a new character, The Writer, who must link the stories together while dealing with the oddities of the Lighthouse. While the visuals look good, as Bloober Team’s other Unreal Engine 5 titles have, the bland gameplay and story-telling don’t form a cohesive whole. It’s not the worst horror game out there (Stray Souls would like a word), but many issues undermine the entire experience.

The Last of Us Part 1 (PC)

You’re probably wondering, understandably so, why The Last of Us Part 1, a remake of one of the greatest games ever made, is on this list. The answer lies in the PC version, which launched in a catastrophic state. Shader compiling took hours upon hours, broken textures rendered characters into monstrosities, performance issues abound, glitches, bugs, crashes – the list went on and on. It made for good comedic material, but those wanting to experience the classic on PC for the first time were far from amused (especially for the $70 price point). Months and months of continuous patching finally put it in a good place, but not without some questioning Sony’s PC porting efforts.

Sonic Superstars

After Sonic Mania and Sonic Frontiers, I looked forward to Sonic Superstars, with bright 3D visuals and gameplay in line with classic titles. While it felt good to play, some inconsistent Zone design, irritating boss battles and gimmicks overpowered the experience to an annoying degree. Other issues like the underwhelming music, boring Battle Mode and the new Special Stage also made it hard to warm up to. While not the worst game in the franchise (that honor still goes to Sonic ’06), Sonic Superstars is underwhelming – a definite plateau in quality over more recent titles.

NOTE: There are spoilers ahead for every game discussed in this feature.

Stray Souls

In Stray Souls you’ll take control of unremarkable teenager Daniel who moves into the dreary town of Aspen Falls after inheriting his recently deceased grandmother’s house. The prospect of a Silent Hill-alike was certainly enticing, but Stray Souls fluffs its lines by being a little too cookie-cutter. It certainly doesn’t nail the psychological trauma element it’s aiming for as Daniel’s actions and those of accompanying Martha can’t easily be explained. All this creepy stuff is happening, but they don’t seem phased at all. The spectre of Daniel’s grandma torments him, but why? Martha gives Daniel a gun, somehow? By the end, the lore is explained by a random note found in a police station. See, Daniel has ‘The Darkness’, with his grandmother’s haunting causing all the strange monsters to appear in Aspen Falls and the surrounding forest. Oh, and there’s a cult. It’s as inconsequential a backstory imaginable with zero context to explain the scary stuff happening despite its best efforts.

Wo Long: Fallen Dynasty

Soulslike Wo Long: Fallen Dynasty has a lot to like: it’s an inviting spin on FromSoftware’s blueprint with the challenge of certain encounters indicated to the player before engaging, saving them needless frustration, and a streamlined combat system forgoing the mental gymnastics required with Team Ninja’s other Soulslike Nioh. The story overall has merit too, telling a complex tale of multiple parties vying for control of an all-powerful magical elixir. It’s just that, the ending just… happens, with minimal challenge. The final three bosses are much easier than the side-quest boss Zhang Liao for instance, for once you’ve mastered deflecting his lightning-fast attacks, the remaining bosses are a walk in the park.

Call of Duty: Modern Warfare 3

Numerous complaints surround the brevity of Call of Duty’s Modern Warfare 3 and its controversial open combat missions. That said, the Modern Warfare 3’s villainous Vladimir Makarov hatches a plan to blow up the Channel Tunnel between England and France, with Task Force 141 fighting for their lives to defuse the bomb and eliminate the terrorists. Thing is, there’s no jeopardy; we know Task Force 141 will succeed – albeit, as it happens, at a cost – but perhaps others who’ve suggested Makarov should be victorious have a point. This resolution would set up a true cliff-hanger. As it happens, Task Force 141 learn of Makarov’s latest scheme and thwart it within minutes. Makarov could be portrayed as a major evildoer, but Modern Warfare 3 instead prefers to depict him as an easily beatable, cartoonish villain.

Daymare 1994: Sandcastle

The story-driven survival horror prequel to Daymare: 1998 features a host of deadly enemies, tense encounters, and niggling environmental puzzles. The plot itself however is a befuddling mess, poorly paced acted out by largely unlikeable characters. There’s no motivation established for the character’s actions; it’s a feeling of procession as player-character Dahlia Reyes delves deeper into the not-so-surprising underground secret base. And the ending, whereby Dahlia is telepathically persuaded by her sister Helen to inject herself with the final sample of Ogre blood to presumably survive teleportation is too ambiguous. Why would she do this? Is Helen speaking under the influence of the ogre? How is Reyes even hearing her in the first place?

Quantum Error

Developer TeamKill Media should be applauded for their ambition; attempting to meld first and third-person action, cosmic shooting, and horror, all through the lens of a firefighter can’t have been easy, but alas the results of Quantum Error make all their efforts somewhat misdirected. Front and centre is the game’s convoluted story, masterfully failing to make sense of its dimension hopping, planet spanning madness. The story is told through poorly directed cinematics to boot, with surprise cutscenes interjecting the gameplay. It tries to do too much, and by game’s end its impossible to make sense of the events that have transpired.

Amnesia: The Bunker

The Bunker is a smaller scale Amnesia experience, with an underdeveloped story to go with it. It’s possible Frictional opted to tell a story lighter on lore to fit the overall more refined experience, but the plot is guessable, full of red herrings and unnecessary distraction. The biggest diversion though is that player-character Henri’s amnesia doesn’t have any relevance at all. He didn’t forget, he was simply in unconscious when all the scary stuff started materialising. The ‘bad thing’ that he did was to cheat at poker to avoid partaking in a night-time patrol. An innocuous undertaking for the usually decent Henri; had he not cheated and gone on patrol himself, the events of the game – kickstarted by Lambert consuming the mysterious spring water – would likely have happened anyway.

Greyhill Incident

Owing to Greyhill Incident’s cliché story, underbaked characters, murky visuals, tepid gameplay, and extreme brevity, it’s premature ending might be its saving grace. The game’s only serviceable character Ryan is on a mission to save his son Henry from the clutches of the sinister greys, who for the game’s handful of hour runtime skulk nonchalantly through the rural farmland Ryan calls home. To save his son, he must be abducted. And… that’s it. We don’t see Ryan’s fate. Does he save Henry? Does he survive? Has his consciousness been transferred to his dog? Greyhill Incident’s climactic abruptness leaves too many pesky questions.

The Walking Dead: Destinies

It’s bad enough that The Walking Dead: Destinies has some of the most horrendous gameplay, stealth, writing, visuals, and cutscenes ever put into video game format. Yet somehow, for a game about your choices having an impact, it manages to have the same ending scenarios for Shane and Rick. The same attack on the prison with a tank (with Merle as the villain for Rick and the Governer for Shane). The same choice leads to either Glen or Michonne dying. Even the same fight in the circle of fire. The same bland evacuation from the prison, with either Shane or Rick leaving separately with Carl. It just comes down to which characters you’d like to see appearing in the same terrible ending rather than your choices having any meaning. At least Rick’s path has Carol 1v1ing a tank with an assault rifle, which is hilarious.

Flashback 2

This long-awaited sequel to the 16-bit classic has its fair share of problems. If you managed to get through to the end, well done you, as not only was there clunky combat, cliched atmosphere, lacklustre missions, and boring, blurry level design to lumber through, there was an unfathomable number of technical deficiencies which broke the game, meaning finishing it was an impossible endeavour anyway. Much like the original, protagonist Conrad is working to thwart an alien invasion, but the settings and story beats rarely deviate. It’s an execution so tepid that you’ll probably not even care what happens come the game’s end. Flashback 2 is a sequel we did not need.

Sonic Superstars

As with all 2D Sonic the Hedgehog games, story is told in between-level cutscenes. Except, in Sonic Superstars – the return to side-scrolling Sonic many long-term fans hoped would be a spiritual successor to Sonic Mania – even between-level cutscenes can’t explain all the crazy goings on in the Blue Blur’s latest adventure. Of the game’s multiple narratives, the Last Story is the most perplexing, with the release of a dragon, the origin of which is remarkably unclear. Eggman’s use of time manipulation is never explained either. A dumbfounding conclusion to an underwhelming Sonic game.

Unlike the other titles, Microids’ 2.5D side-scroller/shoot’ em up has a pedigree. It’s the sequel to Delphine Software International’s acclaimed 1992 sci-fi cinematic platformer, which garnered acclaim for its rotoscoped animations. The story-telling and puzzle-solving were also on point, and such was the reception that it received a sequel, Fade to Black, in 1995. So, where does Flashback 2 come in?

It starts with Conrad B. Hart, an agent of the Galactic Bureau of Investigation, awakening injured in a burned-out lab. His friend, Ian, is missing but eventually reunites with AISHA, an AI in a weapon. As Conrad emerges to an unfamiliar planet, seeking information on Ian’s whereabouts.

"The art style is appealing at times with its lighting and color palette, and the animation, while not as smooth as the original game’s rotoscoping, isn’t outright terrible."

Overall, it’s not the worst start, even as you undertake missions to earn Credits to purchase a mech to beat a local mob boss’ opponent. You get a nice little grav bike, traverse a circular road to visit locations like Pacifica, Arctica, and whatnot, deliver packages, and learn more about the de facto evil corporation and the resistance working against them. The art style is appealing at times with its lighting and color palette, and the animation, while not as smooth as the original game’s rotoscoping, isn’t outright terrible.

However, as soon as you leave the lab, the performance starts to dip, and all sense of quality control goes out the window. A relatively fluid frame rate turns choppy, even with little action happening, turning simple exploration into a chore. Don’t worry, since the first real combat encounter introduces you to something worse: awkward controls and haphazard aiming.

Not only is taking cover pointless since you can’t pop out to shoot enemies, but you have a rechargeable shield that negates damage. Running around, dashing and using Medkits while wildly aiming, hoping to hit something – even if your cursor is directly on an enemy – is the path to success. It’s as awkward as it is unenjoyable.

Sometimes, aiming isn’t complete garbage and snaps to the intended target without issue. Other times, you can’t get it to target enemies above to save your life or progress forward. Enemies don’t react to gunfire and will die after taking enough hits, which can feel like too many at times. The game completely overloads you with Medkits, as if it knows how much of a slog combat can be and is trying to help.

"The bigger problems with Flashback 2 emerge after Helen Clark, Conrad’s friend from the GBI Academy, joins up with him."

The 2.5D traversal, which allows for moving up and down in environments along with left and right, is also annoying. Judging your position can be tough, and it’s easy to get caught on objects, especially in some tighter areas. For a franchise with a reputation for platforming, seeing its bungled implementation in Flashback 2 is a shame.

Worse than combat and platforming is the stealth. If you’re stationary behind cover as an enemy passes by, then good, but forget moving while their backs are turned, or else you’re spotted immediately. An alarm will sound, and enemies in the area attack. Dispose of them, and things return to normal as if every other enemy in the location is blissfully unaware. It’s as dumb as it is immersion-killing.

The bigger problems with Flashback 2 emerge after Helen Clark, Conrad’s friend from the GBI Academy, joins up with him. You initially need to follow Helen and stand by while she hacks through different systems and opens the way forward. It works well enough in New Tokyo, especially as the duo evade enemy forces and constantly stay on the move. The level where Conrad must navigate a hostile ship to save Helen is also not terrible in pacing and action.

Titan Jungle is where it all falls apart. On top of iffy platforming, even worse performance, heavy-handed bloom, and new clunky mechanics, there are sections where Helen fails to follow, and the game becomes softlocked (because she’s required to progress). Reloading to a previous save is the only option. You better hope it’s a file which hasn’t been corrupted.

"Some enemies, like the cloaked Morphs, can’t turn, leading to awkward battles where they move in place, soaking up bullets before back-peddling or dying before finishing their dialogue."

So many other things, big and small, outright ruin the experience. The so-called mech fight consists of two slow machines battling it out with no responsiveness on the only two attacks you have. Then again, the AI is terrible enough that you can get by without much trouble. Some save terminals work, and others don’t. Keep an eye out for the “Saving Game” notification at all times if you don’t want to redo some sections.

Save terminals that do work can only be activated once, which is baffling. You can’t reload your weapon without aiming. You can’t navigate menus with the D-Pad. You gain some armor which can be turned on and off, and aside from one sequence with dangerous gas, I have no clue what function it serves in combat. When using the rechargeable shield, the armor will still take damage, but your health won’t. Make it make sense.

The animation bugs out at some random points, though it corrects quickly enough. Seeing Conrad suddenly shunt off a lift for no reason is still odd, though. Some enemies, like the cloaked Morphs, can’t turn, leading to awkward battles where they move in place, soaking up bullets before back-peddling or dying before finishing their dialogue. It would be hilarious if it wasn’t so sad. At one point in Titan Jungle, the flash from security cameras before their activation started occurring on-screen, even after progressing past that section, and wouldn’t stop.

A dialogue exchange that should have played on a loading screen when traveling by spaceport instead happens when the characters are on foot and running around in the city. The bugs are seemingly unending and don’t even get me started on the NPCs who raise their hands when Conrad points his gun at them, even those on another floor before he even comes into view.

"It’s a shame because there are some sequences where the pacing gives off glimpses of a fun sci-fi spy thriller, but they’re let down by the rest of the game."

The story can be intriguing when not ruined by embarrassing dialogue and boring plot twists (that one person you thought was an ally is actually a traitor. Gasp). Conrad comes across as cheesy, especially when interacting with AISHA, but the atmosphere feels pulpy in an 80s action movie way. That’s not great, but it’s also not outright miserable.

When Helen joins, conversations go for a toss. The Morphs have a heinous plan that could topple the order of the universe as we know it, and these teens are talking about getting coffee orders wrong while running through a dangerous jungle. It’s enough to hope for the Morphs’ plan to succeed and for humanity to fall.

It’s a shame because there are some sequences where the pacing gives off glimpses of a fun sci-fi spy thriller, but they’re let down by the rest of the game. Unfortunately, fixing all these performance issues, bugs, and odd design decisions doesn’t automatically make Flashback 2 good. Just less terrible.

The 2.5D-style movement and combat still feel horrible, and the story, even with some intriguing bits, isn’t good enough to maintain your interest. Even some impressive details in the environments do little to mask the rote level design. If you’re looking for a platformer with a decent plot and puzzles, do yourself a favor and play something else instead.

This game was reviewed on the PlayStation 5.

Flashback 2 focuses on protagonist Conrad B. Hart, an agent of the Galactic Bureau of Investigation in the 22nd century. Though the system is at peace following the previous game’s events, the Morphs re-emerge, led by General Lazarus. Conrad sets out to restore peace and find his friend, Ian, utilizing his AI-powered weapon A.I.S.H.A.

While the original was more of a 2D side-scroller (with its rotoscoped animations drawing praise), Flashback 2 is a 2.5D title with fully 3D visuals, which allows for new cover-based mechanics. Players will explore environments like Titan Jungle, New Tokyo and more, sticking to the series’ penchant for action platforming. As for the previous-gen versions, stay tuned for a release date in the coming months.

Quantum Error

Early access for TeamKill Media’s upcoming horror title begins on October 31st for pre-orders on PS5. However, Quantum Error is available worldwide for everyone on November 3rd, with the story set in the Monad Quantum Research Facility.

Following an unknown attack, firefighter Capt. Jacob Thomas is sent in to rescue any survivors. Things quickly dive into cosmic horror territory, and it’s all players can do to survive. Developed on Unreal Engine 5 and utilizing the DualSense’s adaptive triggers and haptic feedback for immersion, Quantum Error could be a dark horse in a year of standout horror titles.

RoboCop: Rogue City

Terminator Resistance developer Teyon is adapting the other robotic action icon into shooter form with RoboCop: Rogue City. It takes place between the second and third films and sees RoboCop tackling the gangs of futuristic Detroit. There’s also Project Afterlife, a mysterious plan that could involve the ever-shady OCP.

Along with the classic Auto 9, players wield 20 different weapons, uphold the law, help citizens, and complete various missions for XP to unlock powerful upgrades. You can even investigate and gather evidence when you’re not punching perps in the gob. RoboCop: Rogue City launches on November 2nd for PS5, Xbox Series X/S and PC.

EA Sports WRC

The WRC series is back, albeit under the EA Sports moniker and developed by Codemasters, who are no strangers to rally racing games. While it offers WRC, WRC2 and Junior WRC cars and teams from the 2023 season, you can also control about 68 classic vehicles.

There are over 200 stages to play through, spread across 17 locations, including Portugal, Kenya, Japan and Monte Carlo, with new features like Builder Mode for designing a car, Moments Mode (which focuses on racing through recent events), Career, and cross-platform multiplayer. It even has Clubs with leaderboards. EA Sports WRC launches for PC, Xbox Series X/S and PS5 on November 3rd.

The Invincible

Some sci-fi stories are full of hope and the anticipation of exploring beyond the reaches of human understanding. Based on Stanisław Lem’s sci-fi novel, Starward Industries’ The Invincible embodies the latter but reinforces one inescapable fact – not everywhere is meant for us. As astrobiologist Yasna, players venture to Regis 3 on the spaceship Invincible.

It’s not long before she’s caught up in searching for her crewmates with the help of astrogator Novik, slowly uncovering their fate and learning about the overwhelming threat on the planet. With gorgeous visuals and branching decisions, The Invincible promises a slow-burn thriller experience when it launches on November 6th for Xbox Series X/S, PS5 and PC.

Broken Roads

If you’ve been aching for a Disco Elysium-style computer role-playing game, Drop Bear Byte’s Broken Roads may be worth checking out. Releasing on November 14th for Xbox Series X/S, PC and Nintendo Switch, it’s set in post-apocalyptic Western Australia, specifically the Wheatbelt region, as players explore the Outback and make alliances to survive. All decisions fall under four quadrants in the Moral Compass, which can provide different traits to cater to future choices. With multiple outcomes, extensive lore and turn-based combat, it’s an intriguing take on the genre which we’re keen to try.

Football Manager 2024

Would it be a November without a Football Manager title (not counting titles released before 2014)? Football Manager 2024 is out on November 6th with four versions – PC, Console (for Xbox One, Xbox Series X/S, PS5 and also PC), Mobile and Touch for Nintendo Switch. Along with upgraded ball physics and lighting, new features like the Inverted Full Back role, a Match Preparation tab in Training, new Youth System Rankings and more are included.

This is in addition to quality-of-life improvements for the Fantasy Draft and pre-match briefing feedback panel, offering out players on loan, and more. Perhaps the best part is the ability to import your career from last year’s game and continue playing.

Flashback 2

As one of the more unorthodox side-scrolling action platformers of the early 90s, Flashback is finally getting a sequel, helmed by creator Paul Cuisset. It sees Galactic Bureau of Investigation agent Conrad B. Hart searching for his friend Ian while dealing with the Morph Invasion. With vibrant 2.5D visuals that capture the original’s cyberpunk vision, new locations, new mechanics and the same pulse-pounding action, Flashback 2 looks like a modern blast from the past. It’s out on November 16th for Xbox One, PS4, PS5, PC, Nintendo Switch and Xbox Series X/S.

Super Mario RPG

For many, their first introduction to turn-based role-playing games happened not with Final Fantasy but with Super Mario RPG: Legend of the Seven Stars. On November 17th, it finally returns as a remake for Nintendo Switch, featuring gorgeous overhauled visuals and orchestral arrangements for the soundtrack (with the original tracks still available).

There are also several new features and mechanics, from the new Easy Mode and fighting souped-up versions of existing bosses to the new Triple Move, a super move where all three party members attack. Even if you never played the original, Super Mario RPG is an experience that can’t be missed.

Like a Dragon Gaiden: The Man Who Erased His Name

From a legendary dragon to a Joryu, an agent of the Daidoji, Kazuma Kiryu returns in Like a Dragon Gaiden: The Man Who Erased His Name. Taking place after the events of Yakuza 6: The Song of Life, it sees Kiryu partaking in various missions in Osaka and Yokohama, interacting with new characters like Akame and dealing with new threats like Homare Nishitani III, the patriarch of the Kijin Clan.

In addition to serious story missions, Kiryu also indulges in combat with the Yakuza and Agent Styles and engages in various side activities like Karaoke, Pocket Circuit, the Coliseum, and even playing classic Sega games like Fighting Vipers 2, Daytona USA 2, Galaxy Force and Flicky. Like a Dragon Gaiden: The Man Who Erased His Name launches on November 9th for Xbox Series X/S, Xbox One, PS4, PS5 and PC.

Risk of Rain Returns

While Hopoo Games eventually wants to explore other ideas outside the Risk for Rain franchise, it’s back for one last hurrah with Risk of Rain Returns. As a remaster of the first game, the side-scrolling rogue-lite shooter sports sharper visuals and 15 Survivors (two new to the roster) with unique play styles feeding into the sheer chaos possible with item pick-ups and power-ups.

Upon exploring Petrichor V, things increase in difficulty, but you can also add Artifacts for even more mayhem, like Imp Invasions every ten minutes. The best part is that along with couch co-op, the improved online multiplayer makes it much easier to team up with others. Risk of Rain Returns launches on November 8th for PC and Nintendo Switch.

As the trailer reveals, the game won’t just feature a cyberpunk cityscape, but also more naturalistic environment where the player will have to deal with a jungle, and all of the perils that entails, while also having to fight off enemies armed to the teeth.

Flashback 2 will feature 2.5D gameplay mechanics coupled with 3D visuals. This change also means that enemies will be able to make use of more complex tactics, such as taking cover or running up to protagonist Conrad B. Hart to attack directly. The game will feature a mix of combat, exploration and platforming.

Flashback 2 is slated for release on PS4, PS5, Xbox One, Xbox Series X/S, Nintendo Switch and PC on November 16. There will also be a physical release for the console versions on December 5.

Ghostrunner 2

Ghostrunner was easily one of the biggest surprise hits of 2020, and fans were absolutely impressed by its fresh gameplay ideas and the one hit one kill design philosophy overruling it all. A sequel was known to be in the works, and the recently unveiled Ghostrunner 2 looks primed to build upon the foundations of the original in new ways. Ghostrunner 2 will once again thrust players into the dystopian setting of Dharma City as they slash and dice their way through hordes of new enemy archetypes and other obstacles. In addition to having motorcycle levels, the game will also feature better boss fights and more complex level designs among a slew of other improvements. It releases for PC, PS5, and Xbox Series X/S sometime in 2023.

The jungle is familiar but new, thanks to the 2.5D gameplay mechanics and 3D visuals. So while there is some nostalgia for Conrad B. Hart, it also means new threats, as enemies can take cover or run up and attack. It’s an intriguing mix of combat, exploration and platforming with impressive god rays and synth-wave music.

Flashback 2 is out on November 16th digitally and December 5th physically for PS4, PS5, Xbox One, Xbox Series X/S and Nintendo Switch. Set after the first game, it sees Conrad battling the Morphs once again as he fights to rescue his friend Ian. The sequel offers five different levels, including New Tokyo and New Washington.

Though the first game was on the 2D plane (which didn’t deter the gorgeous rotoscoped animations), Flashback 2 is more of a 2.5D title. Conrad is still traversing left and right but can also move and down on the Z-axis, depending on the level. Some sections even look like shoot-em-up arenas, which is an interesting change of pace.

The story sees him searching for Ian, venturing through five levels and potentially stopping the Morphs’ next sinister plan. The lighting and effects are on point, and Conrad’s animations look as good as ever. Stay tuned for more details on Flashback 2 in the coming months.

A more accurate launch date will be shared later, and regular development updates are planned. Announced last year, Flashback 2 was re-revealed at Summer Game Fest 2022 in June. The story sees protagonist Conrad fighting the Morphs to prevent the demise of various civilizations and rescue his friend Ian.

Not much gameplay has been revealed to date, but it’s a side-scrolling cinematic platformer like its predecessor. Perhaps with this delay, we can expect more extensive gameplay footage sooner than later. Maybe Flashback 2 will appear at tomorrow’s Gamescom Opening Night Live. Stay tuned, as always, for more details.

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— Microids (@Microids_off) August 22, 2022