'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.
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.
Gameplay-wise, I was happy with this episode as a function of my relief. The controller brought me back into the world a number of times, and I found myself thinking for Clementine in the quieter moments, instead of only allowing the game to think for her in the louder ones. On the story side of things, if it's Telltale's intention to replicate within me the frustrations of a zombie apocalypse, then they've recently hired a genius. An evil genius. I was driven to murder at any possible moment I could over the course of 'Amid the Ruins,' but I'm pretty sure it's not a good thing to turn sociopathic during what is supposed to be an emotional journey.
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.
It's hard to judge this game without taking strong notice of its position on the eShop. Were it free, I'd probably be much more receptive to the idea (like everything else on the planet), as in some ways it's a demo application with in-app purchases for the full titles. That's fine, but it still costs $15, and the only way to judge its content is to judge the way these titles are actually remixed and thrown together. The content itself is decades old.
I don't need to be a passive viewer of any more zombie stories, especially in 'The Walking Dead' universe. The proof is in this episode's finale, which I conveniently forgot to mention until now. It's a brilliant scene, something I won't spoil, but it's brilliant because I was a part of it. Everything else uncomfortably unnerved me, I was watching a TV show with a dialogue wheel. I never touched the story, and so the story rarely touched me. That's the cost of promising a video game and delivering a script.
My overall negative attitude towards this episode exemplified in "The Game Itself" section is undoubtedly a little inflamed. The visual imagery actually hit some impressive highs, and the voice acting and musical backdrop did some excellent work to support the random plot, more than in past episodes, so the experience was lifted a bit by the team's artists. The writers, on the other hand, dropped the ball.
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.
Before putting the ribbon on things, there's a question of value on the table. Without online multiplayer of any sort, every PS4 owner with but one controller will be spending quite a bit of money to enjoy the majority of 'TowerFall Ascension's' value. Two controllers nets you the best of the Quest mode, while four controllers (and three willing friends) nets you the best of the multiplayer offerings. With one controller, you're basically a crab at a seahorse party. Make of that what you will.
I'll always play a 'Worms' game, as will many other fans, but 'Worms Battlegrounds' has found new and exciting ways to test that resolve. Graphically underwhelming, lazily constructed single-player, menus and online components and a general lack of enthusiastic will on behalf of the team create a haphazard experience, lows and highs often tumultuous in their transition. It might be ugly, but so is wormy warfare. I'm often happy to take the risk, but the real sin is sometimes I'll simply opt for another game, even when teleport guns and water-fuelled jetpacks could light my child mind's fancy. That's not the 'Worms' of old.
The physical weights of the Chariot and the little Knight lugging it around are well considered, as are the tugging and jumping "feel" of things. That's a tough thing to do, especially when the idea is brand new. The tougher thing to do, proven here, is realizing the new concept into an entirely satisfying game.
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.
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.
'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.
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.
I could say a lot about the bizarreness of 'Hyrule Warriors.' I'd never have asked for the mashup, though never would have said no to it either. In the end, it came out pretty much as expected, with a whole lot of 'Zelda' love and a whole lot of minion murdering. The 'Dynasty Warriors' battlefield management style remains just as intriguing on the surface as it is repetitive and, ultimately, disappointingly shallow.
I come away from 'Child of Light' more disappointed than unsatisfied. There is immense potential in Ubisoft's Framework development engine and the team behind it, and I hope they take this game as a lesson on the path to greater, more focused design. First, the gameplay is everything. The turn-based, timeline stuff is highly entertaining and, more importantly, different. Second, beautiful art doesn't make a well-constructed world. It helps, sure, but Aurora's adventure was back-dropped by a collection of still life portraits, not a living, breathing world. As a video game, you're missing the point if the player doesn't feel a part of a bigger universe. Third, poetry is for the poets.
Of Supergiant's two games, 'Transistor' is second-best. I'll always commend a studio for opting to be different, and in some ways it pays off for Supergiant, while in others it doesn't. The combat system is compelling at first, but generally not balanced enough to compel me to keep going in a second playthrough. The story is at first mysterious but eventually underwhelming, despite a strong emotional core in its two lead characters, and the city of Cloudbank shines brightly in just one way, and so feels dull after about an hour.
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.
Nintendo is on a bit of an odd streak lately. Donkey Kong and Mario wowed us on the Wii U, while Yoshi on the 3DS was a disappointment. Strong franchises are making more appearances than ever as the company seeks to stay strong in the wake of the struggling home console, so it's a fear that the once-foregone high quality of any Nintendo-bred title might dip. 'Yoshi's New Island' seemed to add weight to those fears, but Kirby's latest foray would seem to swallow them right back up.