Life Is Strange has already proven itself to be capable of making an interesting story out of its premise, but it's in this third episode that it has begun to develop a real level of confidence in its narrative.
MachineGames' latest take on Wolfenstein is a very good shooter that is only a few missteps away from being, like its predecessor, a truly great one.
Needless to say, the 2013 release of Rockstar North’s Grand Theft Auto V generated a great deal of excitement.
None of this is anything like progress—Westerado isn't exploring new frontiers when it comes to genre work—but the romance inherent to the game's emphasis on freedom sometimes comes close to overpowering a bitter remembrance of the very real history it cribs from.
As interesting as exploring the ramifications of [the main character's] time-manipulation abilities are here, the most resounding moments are those centred on less fantastic issues.
Wrong Number, more than a direct continuation, is an expansion and affirmation of Hotline Miami's themes.
There's a great urge to celebrate what Type-0 is trying to do. There's a temptation to laud the concept of a series best known for simple fantasy making an effort to grapple with the seriousness of a topic of which it has skirted the significance for so long. But Type-0 shows that Final Fantasy, despite its best efforts, probably doesn't know how to grow up in the way it wants to—that it can only grasp at greater dramatic impact even as its battle systems are further refined, its attempts to dig something out of the ancient muck of a subject as heavy as war itself constantly curtailed by concessions to the iconography of its past.
When the pieces come together as they're meant to, Evolve is satisfying in a bone-deep kind of way.
The end result is something that feels like little more than the finished product of a well-oiled entertainment machine—a safe appeal to a mass audience. This is unfortunate since there is genuine joy to be had in simply navigating Techland's fictional city. If the same attention was paid to narrative development and visual design as has obviously gone into the player character's movement, Dying Light's world would be much more inviting.
Chrysalis, Life Is Strange's debut episode, introduces a fascinatingly weird tone where the ordinary is coupled with the bizarre.
Resident Evil HD Remaster . . . achieves the same sense of lingering horror as its source material while simultaneously making the entire experience easier for modern audiences to appreciate.
Leviathan often feels more like a short novel than it does a traditional videogame.
This War of Mine manages to convey an important message very well. By turning the player into an active participant in the cutthroat rationale of life as an ordinary person attempting to survive a warzone, it encourages a level of empathy only possible through interaction. Instead of simply hearing the stories of people who suffer unimaginable hardship as civilians during war, the audience is asked to inhabit these narratives. When our choices became their choices—as completely awful as they may be—we can better understand the ground-level tragedies taking place across the globe at this moment. 11 bit Studios' greatest success with This War of Mine, it turns out, is in creating a videogame that is profoundly unpleasant to experience.
This is Call of Duty coming to terms with itself—pushing and pulling between social responsibility and the joy of instinctual, itchy trigger-fingered chaos. Not since Modern Warfare has an entry to the series felt much more than casually disinterested in humanity.
Civilization: Beyond Earth is, in many senses, the next logical step forward in a series that has always been about celebrating the human drive to understand, control, and expand our environment.
Costume Quest 2 is at its best when the repetitive role-playing combat system takes a backseat to its adventure-style exploration and dialogue.
As superb as the experience of simply exploring [The Vanishing of Ethan Carter's] eerie environments is, unravelling the plot's mystery isn't terribly enjoyable.
Every part of [Dead Rising 3] exists in service to the simple act of knocking over zombies like so many shuffling bowling pins.
[Halfway's] developer is an enormous fan of a few things: well-crafted pixel art, 1980s science fiction movies, and XCOM.
I have a feeling that even [Gaiman's] most devoted fans will be disappointed with the experience.