In short, Advanced Warfare advances every single aspect of the already impressive Call of Duty series.
Lords of the Fallen is trying to Goldilocks it, neither being too hard nor too soft, and that lands it in the rather generic and unadmirable position that last year’s Bound by Flame found itself.
A City Sleeps marks Harmonix’s first foray outside of pure rhythm games like Frequency, Rock Band, and Dance Central.
The essential gameplay can be reduced to a series of shoot-’em-up fetch quests through hazardous landscapes, but even veterans will have to adapt their FPS techniques to make it through.
GTA may be more graphic, but I’d rather have kids play in that fully realized world, with the wealth of side-missions, beautiful views, and more authentic vehicles, than in this dumbed-down cartoon catastrophe.
There are too many dings on the chassis, from the constant inability to activate promised features and occasionally glitchy effects of current and standard modes.
This is the closest anyone’s ever come to an authentic Baker Street experience.
If you embrace the tactical nature of its combat, which is rarely resolved on a single battlefield, then Shadow of Mordor stands largely without flaws.
Whether you’re playing with friends at home, emulating the arcade experience online, getting intimate with the single player story, taking fighting lessons from the computer, or grinding experience, this is the entire package.
Once you crack the 20,000 rhythmia mark, Curtain Call interrupts whatever you’re doing in order to introduce one final medley that celebrates the history and evolution of the series.
Every inch of the game is spent leaping from one agonizing ethical decision to another.
There isn’t a single elaborate or cinematic set piece, and instead of explosive action, there’s just a lot of repetitive, mindless killing.
Even with a few chapter-reset-necessitating bugs scattered here and there, there’s nothing game-breaking in Mind.
Like the Dude from The Big Lebowski, the chill and super casual single-eyed snake at the center of Hohokum simply abides.
The result is both fascinating and frustrating, though the innovative presentation keeps things on the positive end of the spectrum.
It combines Escherian architecture with a distinct Dali-esque surrealism, but, like most dreams, it fails to hold up under scrutiny.
There’s a very fine line between having too much and so much of a good thing, and the clone-filled So Many Me is determined to live on that edge.
As much as I fear death, if being a ghost is anything like the experience of playing one here, bring on sweet, sweet oblivion instead.
As in Bastion, you’ll gain the option of increasing the difficulty in exchange for more experience, and the soundtrack and narration is surprisingly on par with the previously high bar set by Supergiant Games.
All the requisite violence of the genre is there, but there’s a well-considered style and grace that elevates it beyond its mindless, dime-a-dozen brethren.