Brett Makedonski's Reviews
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.
Truthfully, I wish I didn't have to score The Witness. I don't want to set people up for that expectation; I don't want a voice in the back of their head that says "Okay, when does this become a ten?" In a way, that's unfair and detrimental to how the game should be experienced, which is as open-minded and unassuming as possible. Don't go to The Witness. Let The Witness come to you.
Not to diminish the accomplishments of this remake, but it's all possible because Team Ico's Shadow of the Colossus is so impossibly perfect. It's epic and majestic and emotional and imaginative and breathtaking. There are so many superlative adjective you could attach. Shadow of the Colossus' reputation is as great as some of its tallest colossi. This remake might just help some people see that a little more clearly.
There's this weird and perfect harmony about knowing you're rushed and also not caring. It's liberating. I could keep gushing about Minit but, given the source material, this review is already too long.
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.
The parallel to Limbo feels necessary when talking to people who haven't yet played Inside; after finishing it, it feels wholly unnecessary. Inside stands on its own merits as a superbly captivating and moving experience, one that's bound to be on your mind in the time you spend away from it. Someone once told me that the games you can't stop thinking about when you're not playing them are the truly great ones. I'm inclined to agree. Inside fits that mold even though we've seen others of its ilk before.
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.
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.
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.
Forza Horizon 4 is another fantastically fun Forza Horizon game even if it's tough to pinpoint Playground's grandest ambition. If it was to reinvent the series with seasons, that falls a bit flat and underwhelming. But, if it was to simply remove the constraints and make everything as open and free as possible, then Playground hit its target in the most impressive way. Regardless, Forza Horizon is still the king of open-world arcade racers, and it really doesn't look like that'll change anytime soon.
That's kind of where Forza Horizon is at right now: It's a series that's consistently enjoyable on an every-other-year cycle. Playground Games' take on Australia falls right in line. It's not quite the leap that the franchise made from the original Horizon to Horizon 2, but it's not on cruise control, either. There's enough variation here -- from the feel of cars to the game modes to the radio stations -- that this is another excellent installment in an always-excellent series. And, since variation is a key reason for Horizon 3's success, well, Australia seems like it's probably the most perfectly appropriate setting.
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.
Alexios is one of the most memorable protagonists in all of Assassin's Creed, even if I never once actually thought of him as an assassin. In a lesser game, he'd probably be forgettable. But Assassin's Creed Odyssey is superb in nearly every aspect. It's the most impressive Assassin's Creed, even though sometimes it feels like it's Assassin's Creed in name only. It's as broad as Atlas' shoulders and as strong as Hercules. This time, Ubisoft hit a real Homer.
It's more Forza Horizon 4, but Fortune Island has a hook that's worth its weight in gold. Turning an island into a giant scavenger hunt is the kind of allure that works perfectly with Forza Horizon. Elsewhere, completing events has its own intrinsic appeal; excelling at racing and stunts is rewarding because it's a racing and stunts game. In Fortune Island, progression brings about a sense of mystery and discovery. That's a reward that's nearly as rich as the millions of credits scattered about the island.
Control is a weird, enigmatic, perplexing masterpiece. It's also Remedy's most well-rounded work yet. Like Jesse levitating far off the ground, Control signifies Remedy is capable of ascending to great new heights.
Life is Strange 2 represents a sophistication of Dontnod's storytelling capabilities because it effectively adds up and weighs moral decisions to truly influence the narrative outcome. Every ending comes with some degree of complication -- that much was to be expected -- but it's satisfying because they're all befitting of the characters you molded. Whichever direction you took Sean and Daniel's lives, chances are you'll feel responsible for their fates. It's personal. Because it's personal, it's memorable. That's about the utmost positive quality for this style of story.
Half-Life: Alyx is an accomplishment no matter which way you spin it.
All my quibbles are on the periphery of Gears Tactics, though. The core -- getting onto the battlefield and agonizing over every move -- is excellent. There's a smart experience here, one that feels both authentically Gears and tactics. That's the best possible outcome. Gears Tactics is a great Gears game and a great tactics game. This 90% doesn't miss.
All this time, the first Mafia was the best of the trio. It just took a phenomenal effort from Hangar 13 to do it justice with Mafia: Definitive Edition. This feels like the rare necessary remake that elevates and builds upon the original. It's truly an offer you can't refuse.
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."