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.
Thanks to the sheer volume of options present here, Battleblock Theater never runs short on imagination or charm.
The game appears to be a product of magical thinking, as if throwing together watered-down tropes from games like The Witcher might somehow yield a finished product.
In Live Another Day, time is allowed to pass between some episodes, resulting in a tighter, more action-packed storyline.
Reaper of Souls improves so much, so quickly, that gamers may too engrossed to remember to resent Blizzard’s requirement that players remain connected to the Internet while playing.
As if cursed, every innovative attempt The Witch and the Hundred Knight makes to be more than just another button-mashing, loot-grabbing action RPG only trips it up further.
No matter how much C4 you pick up, players can’t escape the confines of Camp Omega, nor from the most expensive demo ever built.
Even basic exploration quickly becomes more trouble than it’s worth, thanks to a scarcity of waypoints, overly lengthy transitions between areas, and the lack of an overall map.
The more that The Red Road focuses on its unique aspects and fractious setting, the more intriguing the series gets.
As befits a game funded through Kickstarter, The Banner Saga doubles down on risk/reward mechanics throughout its rather lengthy journey.
If it does away with verb-based actions, it’s in the hopes of emphasizing the joys of exploring these two worlds rather than the frustrations of a pixel hunt.
The game treats its themes with such absurdity and reductive PSA qualities that there might as well be a planet named Glee.
One’s enjoyment of “The Star” and, really, the entire third season of Homeland boils down to whether one is a fan of redemption stories.
These mechanics aren’t broken so much as literally insane, in the sense that each chapter requires you to do the exact same things, somehow expecting different results.
The reason for the lack of fanfare is because the devious designers know that avid puzzlers will supply their own delighted applause as they reach one “aha” moment after another.
It feels odd and slightly insulting to be given the option to rate missions, as it implies that the designers still don’t know what works or, worse, that they want to better pander to gamers.
For three seasons, Homeland has been having it both ways with the exceedingly charismatic Damian Lewis.