Brett Makedonski's Reviews
Three years ago, we were introduced to Chloe as she was a desperate and lost young woman. We were told that Rachel meant a lot to her, but we didn't know the half of it. Before the Storm provides that context and it's immensely successful in the way it tells that story. In my favorite scene from all of Life is Strange, Chloe was willing to don a silly outfit, get on stage, and stammer through Shakespeare to protect her friend. That's about as un-Chloe as it gets. Rachel clearly means the world to her.
It's heart-breaking to see this happen to good people, but it's also tough to get too invested in anything that's tangential to Chloe and Rachel's plight. We're barreling toward a conclusion and we already know it's more tragedy than comedy. Brave New World cements Before the Storm as Chloe and Rachel's story. They're the lead roles and everyone else is just set dressing.
Despite its sometimes uneven writing, The Fractured but Whole is worthy of the highest compliment a game like this could get: It feels like a long, quality episode of South Park. It's an improvement over The Stick of Truth in terms of combat mechanics, ridiculous plot escalation, and amount of content. It's really all that a South Park lover could ask for.
Cuphead's incredible style belies its magical complexity. It's so much more than a hard-as-hell shoot-'em-up with artistic flair. It's cerebral in a way that these kind of games rarely are. Cuphead's commitment to forcing the player to understand is commendable. Those who don't have the patience to learn won't get far. That's the kind of stand-your-ground moxie that makes this a hallmark of game design. My praise runneth over.
Ironically, Atomega's fatal flaw is that it never grew to its full potential. It's a mostly-unique multiplayer game that's good until it's too familiar. Once it's too familiar, it's too small and simple for its own good. Call it growing pains.
Before the Storm's first chapter has already deflected most of the pre-release concerns that "This doesn't need to exist." Maybe it doesn't because Life is Strange's story was self-contained. Then again, maybe Life is Strange is better off with this complementing it. After its debut, I'm fully willing to argue that Before the Storm deserves to exist because this story is important too. In true Chloe fashion, anyone who disagrees gets two one-finger salutes.
Serial Cleaner is a stealth game that nails its aesthetic, referential material (mildly related: there's an excellent Alien-themed bonus stage), and concept. It just doesn't nail the mechanics of being a stealth game. Developer iFun4all seemingly understands this judging by the copout way it implemented hiding spots. Serial Cleaner is neat, but it isn't always tidy.
Spend enough time with Get Even and you're likely certain to see why it's so arresting. There's something unique and original and intriguing at the core of this game. But hey, maybe I'm wrong. Maybe this is just the Stockholm Syndrome talking.
There's something genuinely charming and interesting to Micro Machines World Series, but whatever that is quickly drowns in repetitive tedium. Bolting Overwatch's sensibilities onto a game like this is a novel idea but Codemasters never leans far enough in any one direction. As a result, this feels like a shell of a few different possibilities -- none of them ever making good on their individual promise.
Forza Horizon 3 Hot Wheels works even though it occupies a weird space. It doesn't play to Forza Horizon's strengths and, eventually, it doesn't even feel much like Hot Wheels anymore. It's claustrophobic and constricting in a way this franchise hasn't been before. In a twist of irony, it's the Hot Wheels aspect that prevents this expansion from ever performing anything spectacularly perilous.
Funny enough, I leave Prey happy and content with everyone's story but my own.
Scanner Sombre is a gimmick game, and I honestly say that without any ill intent. Its gimmick is beautiful and engaging and kind of amazing. To its credit, Scanner Sombre is seemingly aware of the limitations of this because it's brief enough to not wear out its welcome. However, the kaleidoscopic interior decorating is a means to an end, and that end just isn't as thrilling as what's in the mind's eye.
Edith found exactly what she came for: The reasons for all those early graves. This family tree is rooted in tragedy and suffering and loss. It's no great surprise that all the branches broke off. That might be fascinatingly grim for us, but there's also the unmistakable feeling that we're more shook by it than Edith is. Sadly, she's a Finch and that means she had gotten used to it long ago.
Snake Pass' legacy won't be any of that negative stuff I mentioned. It'll be remembered as a quirky thing that's an exemplary example of how games can offer non-traditional experiences. And, to be quite honest, I love it for that. I thoroughly enjoyed my first hour or so as I leaned into its serpentine sensibilities. But, Snake Pass' choice of animal is unfortunately fitting as this game just doesn't have legs.
Mass Effect: Andromeda spends a lot of time not really feeling like a Mass Effect game. If anything, it feels like a spin-off -- the sort of thing created by another studio that's unsure about what direction to take it. Like in the game itself, there are problems with the atmosphere. But Andromeda is very clear that it doesn't aim to be like the other Mass Effects. New beginnings, not funerals -- for better and for worse.
That's the unpredictable allure to Candleman. Its obvious hook is in its unique mechanic, but that's not enough to carry it to the conclusion. Then, there's a Rudy-like emotional investment that takes over when everything stops revolving around gameplay. Fittingly, Candleman burns out prematurely. But, that doesn't mean that it stops shining.
If there's a knock against Blizzard Mountain, it's that Forza Horizon 3 was already a robust package. Australia's bursting at the seams with all sorts of activities, and it'll take dozens of hours to complete them all. Blizzard Mountain's for those who are ready for more, because that's exactly what it is: More. The setting is just a nice novelty. Dashing through the snow is a fine form of escapism from the hot Aussie outback, but it's not an essential one.
These also aren't things I found myself thinking about when I was hellbent on earning a gold medal in yet another event. In those moments, Steep is a simple yet functional form of escapism. It's afterward, when unsure where to go and what to do next, that it hits you: Steep really isn't what it aims to be.
Like the era it paints, Mafia III feels like a relic. It's dated, has obvious flaws, and doesn't hold up particularly well when compared to a lot of modern works. Most damning, it's rarely in tune with itself, often contradicting itself in big ways. It's tough to not feel like Lincoln Clay deserved better than this.
A year's worth of incremental updates have molded this into a game that has more to offer and is easier to navigate. Anyone who has waited this long to follow Rock Band to new consoles should know that this is the optimal time to get in now that the growing pains seem to be behind Harmonix. However, those people should also know that Rivals probably isn't going to be the part of Rock Band that they care about.