Like I said. It’s been so long since I’ve played an Age of Empires game that I needed the extra tutorial help, the engaging historical videos, and the narration that kept me playing through the single-player campaign. I think this game is accessible and easy to learn, but it’s also got a lot of depth for real-time strategy veterans. I hope it does well because I want to see more RTS games hit the market. But this one could keep fans busy for a long time, as far as I can tell right now.
I’m thankful they got this far, and I enjoyed playing the Mature-rated game. I don’t know how far I’ll get into it, but it really is a lot of fun.
To say that Call of Duty: Modern Warfare is provocative is an understatement. It makes you think about a lot of things, including how much violence a video game should have.
Call of Duty works best when it throws a diversity of experiences at you. The multiplayer game accomplishes this with the constant duels between the Specialists. The Zombies experience will keep you trying to survive for just one more round. And Blackout could provide an endless set of crazy and fun experiences.
Star Wars: Battlefront II tries to straddle the hardcore and casual audiences. It succeeds some of the time, and it also fails some of the time. So far, the cut scenes in the single-player campaign are excellent, but I'm waiting to get into some really fun gameplay.
This game doesn’t take itself seriously enough at the end to capture the gravitas of something like Casablanca. But it’s reasonably good at being entertaining with all of the constraints it deals with like a small team and being timely.
As Dusk Falls is a valiant attempt to tell a good crime drama where actions have consequences. The story went on a lot longer than I expected, as the tense moments at the motel spawned a lot of different threads — both flash forwards and flashbacks — that I didn’t expect. But ultimately the tale failed to move me in the way that I had hoped for.
Overall, it balanced out and the rest of the campaign was well done. As I mentioned, most players really care more about multiplayer than the single-player campaign. For me, I’ve always liked how the single-player story motivates you to play the multiplayer. And so it really does matter to me. I don’t know if my objections here mean that I don’t like the game overall. I feel like I’m a superfan who nitpicks endlessly while still pouring a lot of time into playing Call of Duty every year.
Guns Up! will look familiar to a lot of players through its similarities to Clash of Clans. But, it has enough going for it to be unique and enjoyable. It is vastly more interactive than a lot of asynchronous multiplayer offerings that have proliferated on mobile, and it successfully brings some of the accessibility and simplicity of mobile games to the PS4 console.
It had the potential to be as good as The Last of Us, but it lost its way. It’s worth playing, especially as Bend Studio stamps out the bugs.
I felt like I was playing Grand Theft Auto III. If I were rating the story and acting, I would put it at a 95 out of 100. But with all of the bugs and flaws in the gameplay, I am rating the entire package at 75 out of 100. I hope my feedback will be useful as a reminder to developers that six months more work on a game can pay off with huge dividends in quality. But I also believe some of the problems here would be very hard to fix with simple updates.
I liked the intentions of the game. But while it did have a big twist, I felt like it was more of a short story than a long narrative.
While I love the formula Supermassive has created, I don’t think they have quite perfected it yet. But just as they’re closing in on the uncanny valley, they are also closing in on the perfect horror game.
While Alex’s story didn’t have the most action in it, it was full of emotion and it was a story worth telling. I give this one five stars out of five when it comes to its narrative, but I drop it down a notch to four stars out of five because of the clunky movement and too-familiar gameplay. I’m looking forward to what Dontnod and Deck Nine can do with next-generation platforms and the future Unreal Engine. But for now, they fell just a little short of what I was hoping for.
Overall, I consider it another fine addition in the series that I’ve enjoyed ever since Until Dawn. Some of it is getting old in terms of being too familiar, but the writing and the storytelling is always superb — for horror game purposes.
I like premise of Road 96. It sets you up for endless adventures on the road, where each situation can either get you miles further toward your goal or thrown into the slammer … or worse. While you’re vulnerable, your destiny is in your hands.
Empire of Sin has its bugs and some rough cinematic moments. But Romero Games pulled this project off with a team of just 30 people. For a game of its ambition, that seems like a small team. It’s pretty much an indie project, or perhaps “double-A,” compared to other games that are more polished but have hundreds of developers — or even more — working on them.
But it’s not the best Call of Duty game I have played, and the specter of returning to Warzone battle royale games looms large over this game. That’s why I rate this game as 4-out-of-5 stars (and yes, I might rate it much closer to 4.5 stars out of 5, as it is a shade better than the Watch Dogs: Legion game I played recently). I don’t think it’s as good as last year’s Call of Duty: Modern Warfare, which was so disturbing and thoughtful and had an excellent and long single-player campaign.
It doesn’t rely on stereotypes or tropes to find easy answers, and it could be a source of comfort to those who can empathize with these problems. That’s why I liked the tale. It treats all of its characters with a kindness and empathy that unsheathes their complexities.
And while I can appreciate this new art form, this story wasn't quite as dramatic as I had hoped for, or at least the sequence in which I saw the events wasn't as satisfying. It's not as long as I thought it might be. With the pluses and minuses here, I see this as an evolving new medium but not one that has yet reached its highest form.