Adventuring through a mine sounds like a one note sort of deal. It could have been, but then I imagine Image & Form never would have attempted the project in the first place. They saw a potentially monotonous act and employed a variety of key mechanics to make it fun and truly satisfying from beginning to start. Somehow tightly linear while feeling open and unique to each and every player, a day in Rusty's metallic shoes is never the same as the last and always worth another trip down into the dark.
So for me, veteran platformer (including Nintendo's many offerings), 'Yoshi's New Island' doesn't deliver. I'm forced then to conclude that I'm not the audience for this game, and that it would be much more suitable as an inexperienced gamer's first platformer. 'Yoshi's New Island' may actually fill a void in the world of gaming right now as the 3DS is as often in the hands of veteran Nintendo diehards like myself as it is in young, impressionable new gamers. I imagine a solid chunk of youngsters can enjoy this game as a step towards the bigger, the better and the more challenging.
More or less a collection of lengthy obstacle courses with a tendency to break apart and tumble around you and with you, 'Tropical Freeze' accomplishes much in the way of satisfaction and difficulty. Though more an expansion of old ideas than anything blatantly new, what small additions there are, from new sidekicks to subtle level twists, are undeniably positive ones. Accompanied by excellent visual and audio design, it's a successful sequel, bolstered especially by the Wii U's extra bit of power (think about it from Retro's perspective). The studio isn't making waves with this reboot series as they did with 'Metroid Prime,' but they have again delivered an ideal and genuinely exciting Donkey Kong experience.
Zip-lining, jump-kicking, dash-crushing and punching pilots into nothingness with metal fists. These are all things I didn't mention, but they're just a few of the many details that add to the game's allure and make those emergent moments happen. You might chain some of those things together after wall-running across an entire map or leaping into your titan from a rooftop. You might prefer to equip a sniper rifle and climb the highest possible point. Just remember, an enemy pilot might follow you up there and snap your neck. You're a camper, so you deserve it.
At this point, no matter the platform, 'Zen Pinball 2' is bursting with great tables. If you enjoy pinball then you're bound to find a table that suits your style. I did with 'Super League Football' on the PS4 and 'Plants vs. Zombies' on the Wii U. You may with any number of 'Star Wars' or Marvel themed tables. Some of Zen Studio's own creations might even suck you in. 'Earth Defense Force' is goofy fun, and the free 'Sorcerer's Lair' on PS4 is a perfect starter table, though it doesn't quite last like the two I reviewed. The point is – you needn't look further than Zen Studios and their masterful recreation of the true pinball atmosphere in 'Zen Pinball 2.' There's a reason these guys are dominating the virtual pinball market, and it's not because others haven't tried.
As much as I harp on the topic of autonomy and linearity, I still find it extremely difficult to fault the game in my final calculation. 'The Walking Dead' as a whole and this latest episode are doing amazing things for storytelling in games. Clementine is an all-time great character, this season solidifying her as a unique and compelling protagonist, and William Carver might just be the series' best villain. He may not even be a villain in the coming episodes, and it's exactly that kind of ambiguity that keeps me on my toes. It keeps me wanting more. 'A House Divided' fleshed out the group and offered up some moments of sincere tension and, for some of us, regret.
'Garden Warfare' is beautiful, sounds great and it plays pretty well too. PopCap doesn't push any boundaries from a gameplay standpoint. That's understandable; this first installment is more evolutionary than revolutionary. The fact that it all works so well is impressive enough. While you won't find a whole lot of depth in the game modes themselves, sifting through the character classes and matching their individual tactics and abilities with the sprawling maps should be enough to grab the prolonged attention of an avid shooter aficionado.
'All That Remains' is either the start to a great second season or the beginning of the end for a once great series. I simply don't know, and I won't know until getting into the rest of the season. The potential and the set-up is there, which is the baseline for a jumping off point. It could just be so-so, but then that would be a disappointment.
The scenes you explore and characters you discover will keep you delighted. 'Broken Age' is charismatic, colorful and, above all, decidedly unique. Double Fine is unafraid to break with the current trends that lean away from this kind of tale and this kind of game. I can't say anybody who hates point-and-click adventures will suddenly find joy in the kind of puzzles requiring your attention, but that's really not the point anyway. Vella and Shay are well-designed characters looking for their own answers in well-written worlds. It's their answers, and not the puzzles', which propel the player forward.
Master Chief is on vacation, and with no intergalactic war to fight we'll have to settle for a simulation. Not a facsimile, nor a cheap knockoff, it isn't even something in the middle. It's something off to the side. Understanding that virtually any genre privy to guns and bad guys, that 'Halo' technically works as a twin-stick shooter isn't surprising. It's just there isn't much surprising beyond that either. It works, and those with a propensity for some laid-back, arcade-style gunplay will certainly be happy, if not happily overwhelmed, with the result. The best thing you can do is find a friend and go after the flood.
Surprisingly, despite all its whimsy, 'A Link Between World's' final evaluation becomes mostly academic. There are ones and zeroes to consider here, and my emotions on the subject should really take a back seat. This is the most personalized game in the franchise to date, and yet the story is among the most sterile. The dungeons are phenomenal, but the overworld is drab, if intelligently designed and easy to, within it, lose yourself in exploration.
The bottom line is you'll never play 'XCOM: Enemy Unknown' for the first time ever again. It's okay that 'Enemy Within' doesn't give you that feeling. It doesn't recreate the dread we all felt in those first couple playthroughs. That's where ironman mode comes in. 'Enemy Within' is all about piling on the goods, throwing in some new ideas with Exalt and buffing up the sense of personalization and customization with your squaddies. There's a lot more to do, and with a game as good as 'XCOM,' that's never a bad thing.
'NES Remix' is a gateway drug. It's just enough to remind us of better times and better highs. But it's not enough for sustained enjoyment. Despite the sometimes engaging final challenges and remix levels, the majority of your time is spent achieving the most minor of goals for minor rewards. You might as well just buy the full games themselves and skip a marketing ploy when you see it.
Press Play squeezed more than its fair share out of the simple yet powerful drawing mechanic originating from 'Max and the Magic Marker.' Expanding that idea in 'The Curse of Brotherhood,' with narrative focus and tighter puzzle creation, a wonderful Xbox One title emerged, fresh and new. For anyone with the new console and desperate for something that doesn't involve pointing a gun or a car, Press Play's latest is absolutely worth the time. Without more surrounding polish, however, and leaning on traditional dressings in most areas other than strict puzzle design, this is no classic. Here's hoping Press Play keeps on going with this apparently endlessly fruitful idea and finds something more to say with it in further iteration; there's still fertile ground here.
For every dollar that goes into technical and visual design, that's one that doesn't go towards amplifying a combat system, and I'm okay with that tradeoff so long as the gameplay is fun, if not incredibly deep. In a world of limited budgets constraining unlimited potential, Crytek's priorities were not misplaced. 'Ryse: Son of Rome' is an absolutely gorgeous game with a combat system designed to look flawless. For the most part it absolutely does. I'd never make the argument that Crytek is going for something too far away from shallow thrills, but if the potential of the new generation is in the execution of progressive, game-enhancing visuals, then that potential has been fulfilled.
The first mistake you can make is to judge 'Super Mario 3D World' on what it's lacking than what it brings to the table. This is not 'Super Mario Galaxy 3,' but it doesn't need to be. Utilizing the more traditional geometry from 'Super Mario 3D Land,' Nintendo's designers have given themselves a pre-constructed canvas upon which to dispel their captivating ideas. Without the developmental burden of a dramatically changed visual style or tone, those ideas are translated into substantive flourishes of clearly bustling minds, though that isn't to undermine the gorgeous, HD-aided visuals.
In 'Crimson Dragon' it seems, there aren't dragons, just an incredibly unwieldy turkey. We have a turkey with a fat ass, magically given the power of flight, asked to navigate through a veritable waterfall of chunky gravy without getting wet. If you do make it through, you're asked to do it again, but this time with extra salt and sugar pouring along the gravy. Finally, after retries, augmentations to the turkey – it's ass is ever-so-slightly less fat – acquired by capturing that salt and sugar, you're finally given free reign of a stage. Only the turkey never learned to fly anywhere but straight, so the boss at the center of the stage is literally doing circles around you while you barrel roll into turkey oblivion.
The excellent disparity between the multiplayer and single player makes it clear; DICE should not even bother with the forgettable single-player. DICE is a multiplayer studio, and proves it again and again with every new 'Battlefield' release. The fourth core installment of the series is the biggest, most glorious realization of massive, vehicular warfare yet, and DICE has made some admirable strides with balance and destructibility. The maps deserve special praise. I would live in them if they weren't so dangerous and gratifyingly unpredictable. I'd take to the surf if an attack boat wasn't likely to shred me to pieces.
The 'Call of Duty' franchise is firmly entrenched in a rut, and attempting to find fresh aspects requires a fine-tooth comb. While it can be remarkable to find where some creativity has shown through, it's difficult to escape one conclusion. All of the development might and resources that is poured into each new version reflects a group of highly-skilled, creatively hampered individuals who spend two years at a time playing with dials and adjusting statistics in order to justify delivering the same game over and over again. At $60 a pop, the distinction in a subtitle, like going from 'Modern Warfare' to 'Ghosts' for the non-Call of Duty Elite means just one thing: this one starts with a 'G'. Multiplayer changes are clinical and direct, encouraging the hardest of the hardcore to play hard and score mad kills on all the noobs, while the word newcomer has no place in such an uninviting place. The classic recipe still works. It's still enthralling in spurts, but seems as unchanging as any past glory. The single player retains its status as placeholder trailer-maker, while Extinction is a gem buried under bulletin points that could have come from any of the recent 'Call of Duty' installments.
Past 3D Sonic games have ranged from absolutely dismal to infrequently entertaining, but 'Lost World' represents something outrageously new for the Sonic Team over at Sega. They are finally making a real step in the direction of that original vision: translating Sonic's platforming and speed into 3D, thrills and all. But the number of levels that take advantage of Sonic's new movement systems are equaled by the number of levels that don't, which makes 'Sonic Lost World' a grab bag of success and failures, frustration and elation. Fans should seek out this game for its intermittent success and, more importantly, with great anticipation for potential sequels. More time and refinement could see this new vision as a great platformer, not just a great start.