Gears 4 takes only half measures. It discards a lighthearted adventure premise for another fate-of-humanity monster invasion. It gives up on the anti-militarist bent of its early fight against the COG for another plot about soldiers trying to save humanity.
the end, it's kitsch. It's a Soviet-themed Lego set that renders a monumental socio-political phenomenon into little else but a toy. And an exceptionally boring one at that.
The 2016 DOOM's rebellion is smaller than its predecessor, but still impressive: it is unabashedly itself. It's a game with confidence in the worth of revisiting its history and an earnest belief that doing so can result in much more than an empty exercise in nostalgia.
While the interactive core of Quantum Break is a serviceable ode to pulp science-fiction, the episodes are a reminder of what makes the genre enjoyable beyond metaphysical thought exercises: the ridiculousness.
Every work is entitled to express its own worldview, but the value of one as profoundly distrustful as The Division's is questionable. In an era when such cynicism colors our collective culture and political processes, influencing popular views on issues ranging from immigration to international relations, indulging in a fantasy so ready to justify our paranoia can be hard to swallow.
Ultimate Edition doesn’t represent a drastic change from the Xbox 360 original.
There is no shooter quite as willing to prostrate itself before its audience as SUPERHOT while always reminding them that, no matter how tough the game may make them feel, that same sensation can be stolen from them in a heartbeat.
Though Rise of the Tomb Raider wastes little time in getting Lara into the thick of a brand new adventure, it's still burdened by much of its predecessor's baggage.
It isn't an overstatement to say that the attention paid to diversifying the look and tactical possibilities of the levels is key to what makes XCOM 2 work.
Despite how [The Park's] conclusion stands out as both horrifying and emotionally resonant, the plot suffers in a lead-up that can feel a bit aimless.
Life Is Strange's conclusion cements its story as one of the more noteworthy in recent videogames.
Wasteland 2 makes a strong case for the revival of a long dormant style of videogame design.
Zombi's unique take on survival horror isn't enough to compensate for an otherwise bland experience.
Until Dawn is a game constructed by people who understand how to manipulate its players' sense of control. It's informed by a deep study of horror films and smart in its consideration of how to employ this understanding in an interactive medium. It only fails in its uncharacteristic acceptance of a few outmoded tropes. In some ways that enhances Until Dawn as an attempt to properly translate its genre to a new form, while keeping its spirit intact. In others, it's a disappointingly familiar problem to find in a game with so many novel ideas.
Because the challenge stays reasonable enough throughout, Volume's stealth systems remain satisfying and, most importantly, a consistent echo of the game's narrative.
What Everybody's Gone to the Rapture accomplishes with the well-worn post-apocalyptic genre is remarkable.
When Dark Room moves beyond its initial twist in order to return to the mystery at the centre of the game's overarching plot, it succeeds at offering exciting gameplay in lieu of maintaining its thematic focus.
A Knight to Remember manages to capture the spirit of its predecessors without ever feeling like an empty exercise in nostalgia.
There's the outline of a great game one whose aesthetic would likely attract audiences young and old—but it only ever appears in glimpses.
The hand of [Her Story's] developer never intrudes far enough to spoil the basic thrill of solving a narrative puzzle completely on one's own.