Brett Makedonski's Reviews
Microsoft has a lot riding on the continued prosperity of Gears; after all, it is one of the publisher's largest properties. Gears of War Ultimate Edition effectively reminds why that's the case, just as it reminds why this is the game that partially influenced an entire generation of gaming. It just took a makeover to help us appreciate it again.
World of Tanks won't ever be more than a quick detour on the way to something that's easier to comprehend.
So, after another cliffhanger ending, we're left awaiting the conclusion and with no real idea where the narrative might go. Dark Room has been the most masterful installment in Life is Strange thus far, and it sets us hurtling toward the finish line. If the first 80 percent is any indication, it probably won't be a "happily ever after" ending. Only one thing's certain, though: that ever-present throat lump will be along for the ride.
As centuries of racing have taught us, no one remembers the guy who finishes toward the back of the pack. That will be F1 2015's legacy: a forgotten one.
I don't usually rely so literally upon Destructoid's scoring guide when assigning a number for a review, but it feels so apt in the case of Spectra. It's like a boring meal that did nothing more than chew up a little time. It does lack any real flavor. It didn't leave me any different than it found me. It's tolerable, but not anything special. Well, the music is special, but it turns out that Spectra can't stand on the merits of its music alone.
The cliffhanger that Chaos Theory ends on is so perfect for this portrayal of the fictional Arcadia Bay, Oregon where nothing's ever perfect. However, it's also scarily dangerous in that it very well might render most of the world-building a moot point. It'd be such an absolute shame if that were to happen. We have to wait to see if that's the case. But, Life is Strange now has me in its grips, and if I'm worried, it's only because I care. I finally really, truly care.
Even after finishing, it's difficult to pin NERO down to a concept or feeling that's easy to explain. It's a game that prioritizes emotion above all else, and it does so wonderfully. But as the boy at the heart of this tale learns, emotions are tough to understand, and thus NERO is tough to understand. You'll just know that you felt something, and that sensation alone is worth the journey.
Admittedly, Project CARS isn't for everyone. In fact, it isn't for most people. It's niche, and it's for those who take their racing games seriously. It does most of what it sets out to do, and it does that very well. However, the broad appeal is lacking, as the long learning curve likely outweighs what most are willing to put up with. But, for those who put in the time and manage to take the checkered flag, this title has a supremely rewarding experience that most anyone can feel proud of, regardless of familiarity with cars.
While Out of Time has a tendency to meander (like Max herself), it hits hard in its critical moments. This episode succeeds in that it's adept at creating sincere concern for most of the inhabitants of Life is Strange. That depth is appreciated, but Out of Time felt like a giant step to the side, as we aren't much further along than we were at the end of episode one.
Ultimately, Fruit Ninja Kinect 2 is a game that improves upon its predecessor in almost every conceivable way. Anything less would be unacceptable given that this feels somewhat more like a remaster of sorts than a true sequel. There aren't any major alterations, as the Fruit Ninja concept can't be shaken up too dramatically. But hey, it turns out that frantically slicing fruit still makes for a nice little distraction, regardless of whether it's on a tablet, a phone, or a television.
However, impressive aesthetics and weighty mental gymnastics aren't enough to compensate for puzzle design that becomes a slog before long. It's a shame because Pneuma boldly asks questions about player agency, but in ways that are bogged down in tedium.
While those complaints are niggling to perfectionists, it's not the takeaway here. What's remarkable is that No Goblin took what had all the makings of a gimmick mechanic and turned it into something that feels like a legitimately useful staple, something that requires patience and skill to figure out. Roundabout manages to be simultaneously cumbersome and stiff, and brilliant and endearing -- chances are you'll go 'round and 'round. Actually, that's precisely what you'll do.
For now, we're left with our first glimpse at Arcadia Bay, our initial look into the life of Max. It was a slow, yet well-paced initial chapter that set the table more than anything else. There's no telling where the story will go from here. But, as Chrysalis faded out, an indie song played that felt wonderfully at home in this setting, and served as a warning of things to come. It chanted "We will foresee obstacles, through the blizzard, through the blizzard."
All in all, Dead Kings adds up to a package that's somewhat schizophrenic in nature. At times, it seems like both the story and the gameplay aren't quite sure where they want to go. Even more surprising, it kind of works. Anyone that knows Assassin's Creed will feel an innate familiarity with Dead Kings and maybe even a bit of excitement (particularly the last section, which conjures memories of a classic series moment). However, there's an air of freshness about it that works in some ways and falls flat in others. Dead Kings isn't likely to reignite anyone's love for Assassin's Creed, but it certainly won't extinguish any existing flames, either.
Classic Mode's inclusion might just be a nod to the mindset of Lucid Games when developing Geometry Wars 3: Dimensions -- improve as much as possible while still staying true to the core of the franchise. That old game is still there, it's just unspeakably better now. It may have been past installments in the series that were billed as evolution, but Dimensions is where Geometry Wars truly evolved.
Never Alone is only the first entry in an initiative by E-Line Media to create a series of world-culture games. It's an important step for a medium that's all too often stuck in its own familiar ways. Sure, Never Alone is far from perfect, but its highs are much more significant than its lows. Rarely is an experimental take flawless, and that's the case here. But, hopefully everyone involved can take what's on display with Never Alone, improve the formula next time, and continue to teach because it's a fascinating way to learn.
Those who yearn for a return to Black Flag's sandbox will take comfort knowing this is "more of the same," as the clichéd review expression goes. But, Rogue's systems do nothing to move Assassin's Creed forward, leaving it fittingly stuck in the past like the last-generation consoles it graces. Anyone who expects more will be disappointed. Anyone who just wants another open-world adventure replete with sailing, exploration, and killing might find comfort in its familiar ways.
That's where Chariot truly shines -- its cooperative play. Going at Chariot solo adds up to a competent and unique platformer that's satisfying, yet somewhat unfulfilling because of all the opportunity that's unfortunately necessary to pass up. However, once you have a friend in the mix, any concern dissipates and you're left with a memorable social experience that just happens to be almost flawless in its execution.
There are undoubtedly great things in the pipeline for the NHL franchise, but NHL 15 isn't a part of those plans.
That's precisely what makes Brothers - A Tale of Two Sons so endearing -- the undeniable contrast created by the highs and lows that come with the entire experience being driven by love. It's so strong that it even dwarfs the game's core mechanical flaws, making them feel trivial when they should sully the whole affair. It's a powerful venture that isn't necessarily about where you began or where you end up; it's about everything that happened in between.