Still, that narrative is the focus, and it is strong. If Zer0 Sum left me looking forward to future episodes of Tales from the Borderlands because things are going to get awesome, Iron From Ice does the polar opposite for Game of Thrones. The bad situation that House Forrester is in is only going to get worse. It feels like a punch to the gut, and it sets the stage for an intensely emotionally draining experience. In spite of its blemishes, so far it looks like Game of Thrones: A Telltale Game Series deserves its place in the A Song of Ice and Fire lore.
Still, most will come to MouseCraft for the puzzles, stay for the puzzles, and ignore the narrative (or lack thereof). To that end, it does an admirable job, constantly introducing new ideas so that each chunk of levels feels fresh. Over the four hours it takes to see the end, and additional time to complete entirely, it never overstays its welcome. The concept behind it is solid, and it has been developed well past that initial idea.
Finding the right groove and reaching a hypnotic state, that's 0rbitalis at its best. Fire a shot, have it smash into an asteroid. Fire another, have it slingshot off into deep space. Fire another, then contemplate the nature of the universe as it bends and loops around for minutes at a time, leaving behind a trail of where it has been.
However, Claptastic Voyage still suffers from some of the problems that plague the entire series. The main plot is average, lacking any real standout moments worth discussing. It exists as a vehicle to get players between gunfights or to the more entertaining optional missions. This won't go down in history as an example of exceptional DLC, but it does what it does well and it's worth the time to play through.
Life Goes On might not start with the most mindblowing hook, but the idea is solid and Infinite Monkeys develops it well. By constantly adding new tricks into its repertoire and not dragging itself out unnecessarily, it maintains a good quality throughout. Puzzle difficulty ranges from easy to medium-hard; it rarely gets diabolically difficult, and when it does it is only when completing optional objectives. Although it is not particularly nice to look at, the underlying gameplay is worthwhile for any puzzle platformer enthusiast.
All things considered, Risk of Rain is a lot of fun. Though it is held back by its technical faults (which can be reasonably expected from a project created by two students), it has the right stuff to elicit the "just one more run" response that roguelike games are known for. With a little more polish, it could be truly great, but as it is now, it's still totally worth checking out.
It's strange. Detailing all of A Nest of Vipers' parts makes it sound about average, if not even a little disappointing compared to the previous episode. But this one ends up working well as a cohesive unit, even if some pieces fall flat. This episode has its highs and its lows, but it still leaves an unforgettable impression.
Even though I don't see myself replaying Nova-111 for full completion any time soon, I liked what was here. It has a sharp look, some chuckle-silently-in-my-head comedy, and gameplay unlike anything else I have experienced. It forced me to think in a totally new way, which is increasingly uncommon with most established genres.
I wouldn't be surprised to hear some may abandon it before finishing due to its difficulty, but I also wouldn't be amazed to see diehards pop up, going for the no-death and the 100 percent runs. For me, I'm totally happy with my single playthrough.
The Ice Dragon caps off a year of fretting and worrying. Telltale's take on Game of Thrones has been spot-on in that regard. Now that it's over it's almost a relief, even with a bleak end.
What it does to differentiate itself from previous entries in the series is mostly superficial, but Layton fans and puzzle lovers do not really need or want a great departure for the series. All we want is a puzzle-solving adventure, and Azran Legacy delivers a good one.
There's not a lot to complain about with the Sequence. Its clean look and atmospheric electronic music don't distract from the real meat, the puzzles. As far as that goes, there are a lot of them to take on, especially for the minuscule price. It can be tough at times, but that just makes it more gratifying when it all works out and the balls go in the hole.
That's World of Final Fantasy in a nutshell. For those invested in the series up to this point, it's so worth playing. It'll mean a lot to the fans to go on an adventure, fight, and grow with the monsters that were only ever enemies in the past. Its weak story detracts from the experience a little, but the power of well-done nostalgia farming overshadows it easily.
In a way, it's refreshing to get a game that knows exactly what it wants to do, executes on that idea, but doesn't overstay its welcome. The central mechanic of precision projectile motion is unique, and Lichtspeer plays with the formula enough to keep the experience fresh right up until the end.
Attikus and the Thrall Rebellion whets my appetite for more like this. It's quick enough to play just a round or two and still make progress, and it's varied enough to play several in a row without getting too bored. But now I'm looking more forward to the other four Story Ops releasing so we can have that same solid gameplay with even more variety.
It's a decent adventure with varied combat, cool boss battles, and semi-interesting locales. I'm going to keep at it until I've obtained everything there is to obtain, but even then I know I won't have seen everything there is to see. Some of the neatest stuff possible isn't scripted in by the designers, it's waiting to be imagined and created by an aspiring magician.
None of those waste as much time as the procedurally generated levels, which are easily the biggest flaw in Schrödinger's Cat and the Raiders of the Lost Quark. They take up about half of the play time, present very little worthwhile gameplay, and feel like a drudge by the end. If it cut all the fat and featured only the smart puzzle-platforming found in the hand-designed levels, Raiders of the Lost Quark would be a leaner, more engaging, and ultimately much better game.
Overall, The Lost Lords is a fine episode for Game of Thrones: A Telltale Game Series, but it does not stand out. It is not exactly filler, but it does feel like it exists almost entirely as exposition, putting the pieces into place for all of the really exciting stuff to happen in a future episode. It does begin to demonstrate the far-reaching consequences of each character's choices, but it lacks the truly memorable scenes found in the first episode. If Iron From Ice felt like a punch to the gut, The Lost Lords is the throbbing pain afterward.
There are still great things to be found in the Temple of Osiris, and those who care less about scoring points or who have some good partners to team up with can still find some fun in it. For me, Lara Croft and the Temple of Osiris is a lot like Horus's staff: it is a treasure that can do great things, but it is cursed.
Cosmophony is like a firework. As it's flying up and sending out sparks, interest builds. Once it detonates it's an awesome show of color and sound. After that it's over and everybody goes home. It's short and intense, but it stops being interesting once it oversteps the line between fun and frustrating. I played it and enjoyed it until it felt unfair, and now I probably won't ever touch it again.