Leisure Suit Larry: Reloaded is both the longest and shortest two hours of your life.
This clumsy attempt at RPG matchmaking throws together a super-casual dating simulation with a sluggish battle system.
Once a fleet-footed and hot-blooded gothic drama, True Blood hasn’t aged gracefully, and instead grown long in the tooth.
The Underhell atmosphere has some brilliant set pieces, from a carnivorous train that wants to make you its passengers forever, to a menagerie of angry hybrids in the middle of the Yggradasil Zoo.
Throw in the cloaking melee enemies and shielded elite agents, and the game feels like one long riff on Mass Effect 3, which isn’t terrible if you loved grinding through that game’s co-op multiplayer.
While it lasts, the game is a challenging blast, even if the story offers only the skin-deep and all-too-familiar choice of siding with a potentially mad scientist to defend and use the Anomaly for mankind.
Monaco’s tagline reads “What’s yours is mine,” but it’s fairly clear that these levels are designed for the robust co-op, in which up to four thieves must combine their powers to clear each heist.
While you may lose days of your life to the lengthy dungeons and the micromanagement of your demonic menagerie, you won’t lose your soul.
The attentive design has also yielded a story as daring as the original’s, though the focus has shifted from a cautionary tale of unchecked capitalism to an alternative world of segregation, class warfare, and religious fanaticism.
This handheld release is meant to tide hardcore fans over until the next console release with some too-familiar gameplay and the tidying up of the retconned mythology.
It produces only a sad semblance of wander, not a satisfying sense of wonder.
Gaijin Games has exactly the right amount of spring in their step to go toe to toe with their rivals.
It’s a shame that the basic controls take so much away from appreciating The Bridge itself, because the game is literally a work of art.
The tactical minutiae that elevated Spartacus from simple violence to masterful storytelling is still evident.
After immersing oneself in Zero Hour’s flimsy mythology, it’s hard not to believe that a series this bad must be part of some greater conspiracy.
Cel-shaded graphics keep things neat and simple, with long white corridors occasionally showing a glimpse of pastel blue, green, yellow, or red to subtly hint at where, in this non-linear maze, you should be going next.
Solutions are less about unraveling a devious construction and more about remembering where each item is, as you can only carry one at a time.
There are so many solid decisions made by Ninja Theory that it’s as if they surveyed Devil May Cry fans and haters and then provided to cater to both.
Despite all the time spent focusing on the spycraft, subterfuge, and secret messages, The Americans is surprisingly straightforward.
House of Lies is as brash and cocky as the management consultants it follows; it’s also filled with just as much bullshit.