There's no shortage of Souls-likes vying for our attention, but only one can claim to put a dark and twisted spin on the everlasting story of Pinocchio. Developed by South Korean studio Neowiz Games, Lies of P presents a very loose retelling of Italian author Carlo Collodi's 1883 novel The Adventures of Pinocchio. This grim reimagining, combined with a striking Belle Epoque-infused setting, ensures that Lies of P's aesthetic stands apart from other Souls-likes, including From Software's own. Bloodborne is still a clear inspiration, as its tonal atmosphere and combat design call to mind the cosmic horror masterpiece, leading to it feeling overly derivative at times. Still, Neowiz also implements just enough originality for Lies of P to eke out its own identity, even if it's as thin as a puppet string.

The story sees you take on the role of P, a lifelike puppet who wakes up amidst the carnage of a puppet-led invasion of the fictional city of Krat. If you're familiar with Pinocchio, you'll likely recognize character names such as the puppet-maker Geppetto and the talking cricket Gemini. Their names are usually where the similarities end, however--either in relation to the book or any Disney-produced retellings. For one, Gemini isn't an anthropomorphic insect but rather a tiny puppet caged in a lantern on P's belt, acting as both a guide and source of light. Similarly, characters like the Fox, Cat, and Alidoro are reimagined as common criminals and thieves, who don their respective animal masks in order to achieve both anonymity and infamy.

It's this unique take on a familiar tale that makes Lies of P such an intriguing proposition, so it's hard not to feel disappointed when the story doesn't kick into gear until close to its final act. For the most part, you're tasked with visiting various locations where you'll need to either rescue someone or defeat a specific enemy before returning to the game's central hub. Without an overarching goal to propel you forward, it feels unfocused and only attains a sense of momentum in its final few hours once the antagonist reveals themself. There's very little to latch onto before this point, outside of a curiosity to see where the narrative could potentially go. It's not a case where the game is holding back and being intentionally opaque either. The story is predominantly told via expositional dumps and there's little sense of mystery as a result. There are interesting moments dotted throughout but they're fleeting, and I don't think it's too harsh to expect more considering the source material.

At the risk of sounding cliche, Sea Of Stars made me feel like a kid again. And I really mean that; while playing this game, I warped back to an era where I'd turn the TV to channel 4 to get my Nintendo games to appear on the screen before I'd dive into games like Super Mario RPG and Chrono Trigger. Developer Sabotage Studio's ability to conjure the feelings of the past in a modern game astounds me, but it's obvious a lot of hard work and due diligence has paid off here. Sea Of Stars reflects the best of a bygone era, and it does so with a quality that makes it stand out not only among the giants of the past, but also among those in the present day.

Sea Of Stars is a turn-based RPG and a prequel to The Messenger, Sabotage Studio's other retro-tinged romp that focused on 2D Metroidvania elements. The story follows Zale and Valere, two children of destiny who train to become Solstice Warriors, aka mighty fighters who wield the power of the sun and moon. Zale represents the sun, while Valere takes on the powers of the moon. Right away, the game establishes that these two will be inseparable for the entire adventure, but it allows players to choose which of the two party members they want to take the lead, though the choice only affects which character is at the front of the line during the adventure. I like this flexibility, as it gives the player a small bit of agency in an otherwise linear story experience.

Zale and Valere take on a years-long struggle between the Solstice Warriors and The Fleshmancer, a standard RPG villain who wants to take the world for themselves by any means necessary, which for them means summoning powerful demons and unleashing them on the innocent. The villains are a colorful bunch, ranging from a shadowy quartet named One, Two, Three, and Four who are pulling strings behind the scenes, to a necromancer named Romaya who makes creatures from spare bones and flesh piles during our battle. While the story does take some turns I didn't see coming, for the most part I was able to call out story beats before they happened. I still enjoyed seeing them play out, but the predictability dulled their impact.

It's hard to ponder the infinite possibilities of space and not get romantic about it. Our imagination of the cosmos has taken many artistic forms, and the hard science behind the greatest discoveries on the final frontier has been just as enthralling. It's this sense of wonder that makes the prospect of Starfield so intriguing--even more so than if it were just Bethesda Game Studios' next major RPG. However, it's best to cast aside that love and fascination with space because, at its core, Starfield follows a very familiar formula without meaningfully engaging with its setting or the gameplay systems therein.

Starfield is undoubtedly impressive in scale, from the sheer number of star systems and planets you can explore to the multitude of gameplay mechanics that tie the experience together. But once you start to see how all these big ideas are interconnected from a narrative perspective and technical standpoint, the illusion of a grand cosmic voyage shatters and the veneer starts to wear thin. And so, somewhere along my 55 or so hours spent playing Starfield, I dropped the notion of finding that wondrous space adventure and accepted Starfield for what it is: a shooter-focused RPG in the traditional Bethesda framework that has its wild and fun moments but one that's ultimately a mile wide and an inch deep.

Starfield's main quest is the most emblematic of the game's shortcomings. Despite romanticizing the idea of taking to the stars to explore the great unknown, these narrative ambitions fall into shallow stories that undersell the spacefaring premise. You start as a lowly miner extracting resources for a faceless corporation and within minutes, come in contact with an "Artifact" that activates mysterious visions of something bigger out in the galaxy--a sort of leaving-the-vault moment like in Fallout. You're then shuffled into the ranks of a small organization called Constellation, whose sole purpose is to chase these Artifacts and uncover their purpose. With the handful of characters who make up the group, Starfield tries to instill personality into its story, but consistently weak writing and generic dialogue means these characters--who do have a few interesting moments along the way--largely fall flat.