Recent reviews by Solbady

I miss this game.

Mass Effect 2 was my favorite game for a remarkable 15 years, but Clair Obscur: Expedition 33 clearly dethroned it.

In the first few moments of gameplay, I knew that I was in a world that was both fantastical and grounded with emotion. Not only was the art direction mesmerizing, but the characters and story felt extraordinary and, instead of being derivative, struck me with the weight of something truly inspired; the sound design and soundtrack was phenomenal.

The gameplay was fun and imaginative, with a combat system that continually rewarded strategy and skill. Though visually stimulating, it is mechanically challenging and, thankfully, was never felt bloated or padded. Instead, everything felt purposeful.

I achieved all of the achievements the game could offer, and enjoyed the journey.

I can safely say that I was never consumed by a "chase a checklist" mentality. I wanted to see and experience everything this world had to give, and it was a joy to do so.

Not just an RPG with merit, Clair Obscur: Expedition 33 is a work of art, an achievement in storytelling, and a masterclass in world building. If you have the tiniest inkling of an interest in turn-based strategy, narrative adventure, or ambitions of stylistic scope, you owe it to yourself to play this.

The original Dying Light is one of my favorite games of all time. It captured atmosphere, isolation, tension, and movement in a way that very few games have managed.

Dying Light 2 is undeniably a prettier game. The lighting is impressive, the world is expansive, and the parkour still feels satisfying. But while it looks like a step forward, it often feels like a step back.

When the game first launched, the complete lack of firearms made the experience feel oddly restricted. It did not just affect variety in combat. It took away that sense of impact and danger that made encounters in the first game so intense. The combat felt slower, and the pacing struggled as a result.

More than anything, what is missing is the tone. The first game made you feel alone in a city that was falling apart. There was a sense of dread, of solitude, and of survival. Dying Light 2 feels more populated and polished, but also less focused. The world is busier, but less immersive.

There is still plenty to enjoy here. The movement system is strong, the verticality is rewarding, and the newer updates have definitely improved the game. But for me, it lacks the emotional weight and raw edge that made the first game so unforgettable.

It is a good game. Just not the one I connected with in the same way.

Dragon Ball Z: Kakarot is the closest any game has come to letting you live through the anime, start to finish. If you’re a fan of the series, this game is pure nostalgia with some real heart behind it.

The story covers everything from the Saiyan Saga through the Buu Saga, with great attention to detail and a surprising amount of slice-of-life moments that give the world more depth than just nonstop fighting. Watching the characters grow, train, and bond outside of battle was honestly just as satisfying as the big fights themselves.

Combat is flashy, fun, and satisfying, though it can get repetitive over time. Side quests are hit or miss, but they’re packed with references and character cameos that fans will appreciate. The RPG systems are serviceable, and while they won’t blow anyone away, they do just enough to keep progression engaging.

The DLCs, especially the Bardock and Future Trunks content, add solid value and are worth checking out if you loved the base game.

It has flaws. Some pacing issues. Some filler. A few quality-of-life things could be smoother. But when the game is good, it’s very good.

If you love Dragon Ball, this game respects your time and your nostalgia. That alone makes it worth recommending.

Mouthwashing is a psychological horror game that strands you aboard the Tulpar, a space freighter where the crew's mental states deteriorate faster than their food supplies. The game employs a non-linear narrative, alternating between timelines to unravel the events leading up to and following the Tulpar's catastrophic crash.

The game features a retro-inspired visual style reminiscent of PlayStation 1-era graphics, enhancing its unsettling atmosphere. The low-poly aesthetics, combined with cinematic framing and glitchy transitions, contribute to a sense of unease and disorientation.

As someone who doesn't typically enjoy point-and-click games, I found Mouthwashing surprisingly refreshing. The gameplay focuses on exploration and narrative progression, with players interacting with the environment and solving simple puzzles.

Having completed the game, I can attest to its distinctive and thought-provoking experience. Its strong narrative, combined with a retro aesthetic and effective sound design, creates a memorable journey into the darker aspects of human nature. The game's storytelling and atmosphere make it a noteworthy addition to the horror genre.

I fixate hard on games, but Vampire Survivors isn’t just another hyperfocus session. It’s pure, concentrated serotonin.

The gameplay loop is simple on the surface: move, survive, upgrade, repeat. But it’s so tightly designed that every moment feels rewarding. Numbers fly, effects stack, the screen floods with chaos, and somehow, your brain just clicks with it.

It satisfies that craving for constant feedback, with no bloat or filler. You’re always unlocking something, improving a build, or discovering a secret. You don’t have to wait 40 hours to get to the good part. The good part starts at minute one and keeps escalating.

I’ve played plenty of games for long stretches. This one earns it by turning my attention into a laser beam of joy. It doesn’t ask for focus. It rewards it.

TL;DR: If you’ve got ADHD and a love for satisfying chaos, this game will scratch an itch you didn’t know you had. Then it will dig deeper. And you’ll thank it.

It’s not just fun. It’s dopamine design done right.

When Sparking! Zero launched, it felt like the dream finally realized. I had been waiting for something like this ever since Budokai Tenkaichi 3. The visuals were stunning, the combat was flashy, and the nostalgia hit hard.

But now, eight months later, the excitement has faded. While Tenkaichi 3 had its own issues, like bloated rosters with barely distinct characters, it still had a charm that kept you coming back. It felt massive, chaotic, and full of possibilities.

Sparking! Zero, by comparison, feels sterile. The fights look amazing, but the systems feel restrictive. Customization is limited, the movesets lack creativity, and the overall depth just isn’t there.

It’s a technically impressive game, and I still recommend it for the spectacle and short-term fun. But for all its polish, it lacks staying power. The more I play, the more I realize I was chasing a feeling this game can’t recreate.

This isn’t the next Tenkaichi 3. It’s a reminder of how much that old mess of a game got right without even trying.

Robots are cool.

This is the spiritual successor I’ve been waiting for ever since Jurassic Park: Operation Genesis on the PS2.

Even in early access, Prehistoric Kingdom already captures the same feeling of wonder and control I used to get from building my own dinosaur park as a kid. It is not just about throwing down exhibits and paths. It is about creating a living space for prehistoric animals, with a surprising level of detail and freedom.

The building tools are powerful, the environments are lush, and the animals are beautifully modeled. It feels like a proper evolution of the genre, with enough creative flexibility to satisfy both casual players and diehard park management fans.

That said, it is still rough around the edges. Some features are missing, optimization can be spotty, and the user interface is a work in progress. But the foundation is strong. It feels like a game being built with care and a clear vision.

If you ever dreamed of a modern Operation Genesis, this is it. It may not be finished yet, but it is already something special.

I really suck at this game, but at least it's fun.