I mean, do you see the genius in that? Do you see how Modern Warfare 2 says something, and then unsays it, but in a way you might not notice, but also leaves the writers, developers, and the entity of Call of Duty an escape route from any accusations of intent or subjective belief? In a postmodern world of alternative facts and the end of the metanarrative, where it seems like there are no answers, truth, or anything you can fully believe in or trust, and everything shifts all the time, I think Modern Warfare 2 is a kind of masterpiece. And now I imagine them using that quote, “Modern Warfare 2 is a kind of masterpiece,” on a poster or something later on, and everything around it won’t matter.
Resident Evil 4 Remake improves on the visuals, mechanics, and moment-to-moment experience of one of the best games ever made, but the source material casts an inescapable shadow, both in its renown and its treatment of its leading woman.
Intricate, intuitive, and ambitious, Cities Skylines 2 successfully integrates all the major improvements that players might have wanted. Something personal is lost in its larger scale, while performance problems spoil the beauty, but this could one day become the superior city building game.
Solium Infernum regards strategy as a game of intellect, patience, and observation. Put into those terms, it might sound dry, but its visual flair combined with the ingenious ways it turns abstract ideas into tangible, comprehensible, and thrilling game mechanics make it irresistibly playable.
Alone in the Dark is a weak survival horror pastiche largely devoid of original moments. The occasional dash of character in its 1920s Deep South setting can't make up for repetitive puzzles and the feeling we've seen all of this before.