Few video games so directly encapsulate the notion of “being a toy” as The Room.
Outlast’s combat-free action, wherein fleeing and hiding from enemies is the only way to survive, remains effective, but only to a point.
It cleverly utilizes a full surround soundscape to drench the player in the foreboding atmosphere of the haunted forest.
Consider Resident Evil 4: Ultimate HD Edition to be the video-game equivalent of a Criterion Collection release.
Garden Warfare features enough unique elements and clever twists to stand out, breathing joy into a stagnating genre.
It isn’t fun, and without the personality, narrative, and sense of humor of something like Super Meat Boy, the game quickly becomes a chore.
Many of this game’s issues were easier to swallow on the DS.
What might have been an assembly-line, recherché plot serves as a love letter to fans.
Payday 2’s embarrassing AI is a major problem. Police, security, and SWAT alike have little regard for their own lives, running headfirst into gunfire and taking cover behind objects that don’t exist
His passing not only marks the end of an era, but leaves a hole that will be felt by anyone who knew him in any capacity.
Each chapter is completely free of tension and coherence, with no sense of time passing between sections (can be minutes, can be months) and a stunning amount of reuse to make areas more bloated.
Because its story campaign is the shortest of the series, Assassin’s Creed III is encumbered with an abundance of horrible, boring side quests that exist only to waste the player’s time.
The game is deeply unrewarding, with an unlockable series of side-character stories that registers as little more than fan service.
World Gone Sour is much better than any junk-food product crossover has any right to be.
The graphics are inconsistent, with some scenes stunning (the aforementioned nightclub) while others look awful, such as the N64-grade flight over the African jungle.
The wafer-thin story is merely an excuse to take part in the kind of bizarre, over the top, and hilarious scenarios that you would never encounter in any other game.
Male characters might spew misogynistic rants full of ugly generalizations, but the game correctly identifies these as arising from insecurity and difficult personal history.
There’s something refreshing about Operation Flashpoint: Red River’s attempt to be innovative and relevant in a post-Modern Warfare world.
Compared to other mediums like film and television, video games are relatively young, and the industry is still trying to figure itself out.
And so it goes that Bulletstorm is an unfocused and repetitive mess, never completely succeeding in anything it attempts—excess without abundance, gravitas without weight.