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.
Like the natural world it sets out to emulate so well, Far Cry 3 is beautiful and deadly.
Between the 12 main weapons in your arsenal, the four types of turrets, three barriers, four mines, and different troop compositions, there’s enough variety to keep you facing down your rivals for at least as long as the campaign.
The Walking Dead is harsh and hopeless, and that’s a good thing.
Defense isn’t nearly as important as a strong and constant offense, through which you can accumulate the AP necessary to trigger those killing moves.
Zone of the Enders comes to mind, though the game is more about chaining acrobatic loops through a series of rings in the sky.
The game allows you to purchase a wide variety of weapons (machine guns, rockets, pistols, grenade launchers, flamethrowers), but there’s very little difference between them, particularly in the late game.
It draws from the chillingly descriptive minds of authors as diverse as Kobayahi Issa, Neal Stephenson, and the twisted H.P. Lovecraft.
The Rock Band games, which generally chart the rise of a band, have never been acclaimed for their story, but Rock Band Blitz doesn’t even offer that.
While the gameplay may grow a little stale, the story rarely falters.
With the exception of some savage, keyboard-crushing levels late in the game, it’s a blast to play.