The album is another haunting synth-pop house of mirrors that transcends mere nostalgia.
The album flits between topics of love, feminism, and cultural identity with relative ease.
Portions of the game may deliver high-octane thrills, but its paramount moments are frightening because they’re understated.
Unfortunately, Star Trek is plagued by game-breaking bugs, monotonous co-op/single player gameplay, and flat, unexpressive graphics.
The game’s challenges are ramped up throughout each mode and the rewards are fairly abiding.
Enemies resemble jerky marionettes tossed at your face and the neat addition of the motion tracker from Aliens adds little pressure to the proceedings when the level designs are extremely linear.
This is an above-average platformer, but an unfailing hodgepodge of annoying problems keeps this stealth-laden fetch quest from being a must-have title.
The Lost City of Arkus is an amusing MacGuffin that will propel kids and adults along the linear through line; lock puzzles, jump pads, battle arenas, and a fairly deep upgrade system all return from Spyro’s Adventure.
One of the game’s primary half measures is a first-player narrative that wants you take it seriously based on its presentation, but only resorts to juvenile and almost cartoony clichés.
The soundtrack brings us back to the ‘80s; the main characters even rock air guitars at the end of all 10 levels, and the main antagonist looks and sounds almost like He-Man’s Skeletor.
The game’s serious tone and sharp presentation wonderfully belie a storyline that involves wisecracking, sentient robots transforming into insects, dinosaurs, race cars, and helicopters.
Textures may pop and frame rates will stutter and jolt, but character modeling is thankfully strong throughout, as is the emotionally resonant score by longtime Final Fantasy composer Nobuo Uematsu.
Though the tale is slight, Brave’s gameplay is an entertaining blend of an isometric action-adventure and twin-stick shooter.
The co-op play for Episode II is available locally or online, but both experiences are hampered by poor power and speed balance between the characters.
Dialogue choices you make along the way shift the narrative ever so slightly based on a Mass Effect-esque paragon/renegade continuum.
You can punch, kick, or scurry away from blood-thirsty walkers with ease, and a reticle-based targeting system is intuitive when time is slipping through your fingers.
The ingenuity of the puzzle solving is the main talking point here. A precarious interplay between light and dark is a key gameplay mechanic.
The story moralizes on the subject of murder with a heavy hand and yet its main character cuts through each nameless person on screen without raising any valid questions in the process.
The equipment and currency systems are skin-deep for the six-to-eight-hour one-player campaign, but truly boost forward in the immersive online portions of SSX.
Monolith tried to create a full-bodied shooter experience with their limited budget they were given, but titles such as Bulletstorm and TimeSplitters truly experimented with slapstick within the FPS genre.