Ryan McCaffrey
Danger Zone is a simple and barebones game that manages to recapture some of the car-smashing action of the classic Burnout series, but not enough of the joy. Though Burnout's Crash mode was always the star of the show in those games, it turns out that Road Rage, Burning Lap, etc. defined Burnout just as much as Crash did, as well as its personality. Their absence here is felt deeply, though to Danger Zone's credit it's priced accordingly at just $13. As such, it's worth a look for Burnout veterans, as long as you calibrate your expectations appropriately.
The staples of Mirror's Edge remain refreshing and unique in the first-person genre in 2016, but Catalyst's attempts to keep up with the open-world Joneses don't always jive with its design strengths of movement and momentum. On top of that, muddy-looking console versions and a lame story filled with unlikable characters doom Mirror's Edge's return to fall short. I was so happy this game was being made, but in the end I'm just as disappointed in how it turned out.
Saints Row 3 is still as fun as it is crazy on the Switch, but be warned if you're going to play it on a TV.
Though Black deserves credit for adding new puzzle mechanics along the way, it could've easily seen its 6-8 hour runtime chopped in half and still gotten its message across. That entire time I found myself wondering if, like Inside, Black would have anything to say. When I finally discovered its message at the end of the campaign, it did inspire me to look up the real-life issue it was drawing attention to and learn more about it. I applaud it for that. Sure, it could've done so with a bit more subtlety – it's a bit heavy-handed at the very end – but at least Black does have a point to make. It's just a shame that it wrapped that in a game that's so shamelessly and distractingly derivative.
Super Bomberman R’s multiplayer versatility and boss-filled story mode are laudable retreads of classic gameplay, but its depth and customizability are disappointing. By contrast, the aforementioned Bomberman Live was a brilliant, fully featured Bomberman for Xbox 360 that came out 10 years ago, and it only cost $10. It’s reasonable to expect a bit more from a $50 Bomberman game in 2017.
Alien: Isolation erases the memory of Colonial Marines, but it's still not the great Alien game we were hoping for.
I badly wanted Beyond Eyes to use its attractively whitewashed look and novel, visually limited ideas to tell a much more moving story whose empathetic lessons could've stayed with me long after the end credits rolled, but it didn't. Only its ending taps into this potential, and it's a shame the rest of its short playthrough time couldn't follow suit.
Carmageddon: Max Damage feels like it was designed in and for the year 1999, which on paper is a noble goal when trying to revive a franchise. Unfortunately, in practice it just doesn’t work, instead reminding us that time moves on. Max Damage is a collection of ideas that looked good on paper and sounded good in its Kickstarter pitch, but in practice it would only have been an acceptable sequel if it’d come out in 1999.
I still love Telltale's take on the Bat-verse, but the remaining episodes of The Enemy Within have an uphill climb to get this season back on track.
It's all such a disappointment. I very much wanted to like Lucky, because the Xbox could use a decent answer to Nintendo in the 3D platformer genre. Unfortunately, Super Lucky's Tale definitely isn't it.
NBA Live 14 marks the return of the once-excellent basketball sim, but that excellence is long gone.
Sadly, even loading an MP3 of ‘90s favorite “Mr. Jones” by Counting Crows didn’t make any of these four music mini-games and passive experiences any less boring or more bearable. If my friends came over to check out my new $400 VR headset, Harmonix Music VR is the last thing I’d want to show them.