It can’t step out of the silhouette of its most brilliant predecessor, Portal.
To the game’s credit, the police presence on the track feels less like a hook than a genuine menace.
As the stakes grow increasingly life or death, the production’s campy structure becomes less capable of supporting it.
There are plenty of military engagements in Breakpoint, but none of them are particularly engaging.
Each part is so overflowing with jokes, ideas, characters, and charm that you won’t want to separate from the whole game.
For all of the work that Deck 13 has put into creating an intriguing city, the actual exploration is sometimes marred by technical issues.
The game is boorish, infantile, and violent, and, in refusing to take any sort of consistent stand, is wildly off the mark.
Without a sense of feedback or progress, the rambling, leisurely narrative of Telling Lies comes across as unfocused.
Our ancestors didn’t have it easy, and that’s the for-better-and-worse message reverberating through every interaction in the game.
Even when the game isn’t actively shooting itself in the foot, it never entirely succeeds.
The more often you get stuck with the same items and abilities, the more redundant and shallow the game feels.
This production’s pacing is more deliberate than that of the film, leaving the characters with more room to breathe.
The game’s first-person-shooter sequences aren’t just dull and familiar, but also clunky, given the touchy VR controls.
The play reduces Medea’s decisions to an act of madness, adding little to our understanding of the Medea mythos.
The similarities between SolSeraph and ActRaiser are unmistakable, but it’s a joyless facsimile that lacks a single spark of innovation.
This is a rare adventure game in which the journey is actually more of a reward than the destination.
Even the few inventive stretches of the game are ultimately driven into the ground by a punishing sense of repetition.
The game’s first few acts are its finest, particularly for their strong sense of physicality.
There’s no limit here to the narrative conveniences that exist only to conclude the series’s eight-season arc.
As David Benioff and D.B. Weiss show with this masterful rebuttal of an episode, it’s never too late to choose a different narrative.