DeVuego ES_COR

Cosmodread is a worthy successor to the cult-classic grandfather of VR horror games, Dreadhalls. Although it doesn’t do a whole lot to push the genre forward in many meaningful ways, it absolutely nails the suffocating terror, incredibly immersive atmosphere, and unnerving tension that makes VR horror so powerful. Visually it leaves a bit to be desired and can get repetitive due to its roguelike design, but it’s still a supremely effective and harrowing experience that all fans of spooky space adventures should absolutely check out.

I wish Vanishing Grace had the time to flesh out its story and design to the same level as its intoxicating central set, but it nevertheless remains a thoughtful and touching adventure I was glad I undertook. Warm VR visuals and a winning sense of space make this a great destination to breathe in even if selective interaction feels restrictive and the ride is over before you can get too comfortable. It’s a bit of a Firewatch-lite, then, but a decent starting point for a promising new developer.

Just like its predecessor, Crisis VRigade 2 is as simple as VR shooters get. And yets its back-to-basics philosophy, paired with devilish difficulty that demands attention and rewards risk makes a compelling case for VR shooters to rediscover those roots. One session spent ducked behind a desk, scoring lucky headshots from beneath a barrage of fire can be enough to make you forget the call for the complexities of upgrade trees and open worlds. Crisis VRigade 2 still needs time to grow into a better, more feature-rich game, but if you’ve got the space and composure for an hour of street shootouts, it won’t disappoint.

What a pleasant surprise, then. Against all odds, Groundhog Day: Like Father Like Son nestles itself neatly amongst the growing number of VR titles that marry compelling, involving narrative with thoughtful interactivity. It’s a game with a welcome amount of heart, refusing to settle for the usual standards of tie-in media. Dare I say it, it’s even a worthy follow-up to a movie you’d have thought best left untouched. Bravo.

Intruders is a welcome case of less is more. It’s an engaging little short that largely keeps its ambitions in check with enjoyable if unremarkable sneaking. You likely won’t remember much about Intruders a week or two past playing it, but it keeps you hooked while it lasts. For a home invasion game, it’s perhaps just a little too safe.

Red Matter is nothing short of a textbook example of how to do VR adventure games right. It emphasizes design and experience, putting immersion front and center, making a bullet-proof case for why it needs to be seen and played in VR. Short length and some troublesome puzzles betray its winning streak to some degree, but don’t change the fact that this is one sci-fi story you shouldn’t miss out on.

The Invisible Hours is unlike anything else you’ll play or watch in VR this year; a genuinely enthralling murder mystery boldly told in an entirely new way. Its character-driven drama is near faultless not just in the dialogue and plotting but also in the superb staging and pacing that brings the world to life. It’s an experiment that pays off in spades and could well provide a template for VR storytelling to come.