Brett Makedonski's Reviews
World of Tanks won't ever be more than a quick detour on the way to something that's easier to comprehend.
At its core, The Spectrum Retreat has a tragic story about a family cast aside by the American health care system. That much becomes apparent early on, but the finer details are hidden behind too many consecutive puzzles. There's a narrative worth hearing here, but the cadence at which it's told is just a little bit off. That, mixed with the good-but-not-outstanding puzzle design, keeps The Spectrum Retreat from being a truly great stay.
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.
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.
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.
Yet, those who are looking for one last fix of Assassin's Creed before heading into the break should find some solace in The Last Maharaja's comforting ways. It's enjoyable enough on its gameplay merits to warrant spending time with it; it's also inconsequential enough that you couldn't be blamed for skipping it. It really just depends on how badly you want to play more Assassin's Creed.
Despite finding issues with this chapter at every turn, I found myself more or less fulfilled with the conclusion -- although, I firmly believe that's an enthusiasm for Life is Strange as a whole as opposed to this installment alone. I think Dontnod discovered that it created a world that sprawled a little too far, and it wasn't sure how to bring it all to an end. So, it went with the easiest option. Or, as an art critic in this chapter phrased it, it took the path of least regret.
Crackdown 3 is a good Crackdown game, which, unfortunately, doesn't mean much anymore. Modern game design has surpassed the Crackdown model by leaps and bounds -- as high and far as an agent can jump. The most remarkable thing about Crackdown 3 is how unambitious it is. It's content to come off as dated, like a relic from a bygone era. That can be comforting in a way, but it's immeasurably more disappointing. Crackdown 3, just like its kin, is only a distraction and nothing more.
There are undoubtedly great things in the pipeline for the NHL franchise, but NHL 15 isn't a part of those plans.
But I also found myself making excuses for Assassin's Creed Valhalla until I couldn't any longer. It mimics the Odyssey formula but takes a step backward in almost every way. It sacrifices story for scale. It's designed to discourage stealth in favor of epic battles. It's true to the Viking experience, but it isn't true to the Assassin's Creed experience. That's why it comes off feeling like the least essential game in the whole series. Impressive in some of its accomplishments, but inessential all the same.
There's no question that Sean and Daniel leave Life is Strange 2's third episode with more scars than they began with. Scars have a way of robbing innocence and dispiriting the spirited. It's no wonder Daniel is disillusioned. But that headstrong attitude leaves Wastelands feeling like an episode without much development. Deep in the California forest, the weed is growing but that's about it.
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.
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.
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.
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.
When you go trick-or-treating, you don't come back 100 percent with candy you love. There's some bleh stuff mixed in, stuff that you put up with to get to the candy you can't wait to eat. That's a perfect analog for Pumpkin Jack. You'll push past parts of it because this mascot platformer has some really great qualities. And, when viewed as a whole, a bucket full of candy ain't so bad.
Crypto-137 is hellbent on ensuring that humanity meets a terrible fate. By comparison, Destroy All Humans has met an enjoyable-enough-but-certainly-not-amazing fate. That's fine, but it's tough to not feel as though something truly great could've happened with some more creative license. If nothing else, this remake left me thinking that Destroy All Humans is still a viable property and that a brand new game might not be such a bad idea. But maybe that's because an extraterrestrial has control of my cortex.
There's so much about Mafia II that feels like a relic of a bygone era.
If the eponymous Savage Planet is your Kindred explorer's residence, the space rock called DL-C1 is a timeshare. It's a decent little getaway -- probably worth the investment, a change of pace, and the vacation is over quicker than you'd like. But, despite what the name suggests, Hot Garbage is far from a dump.
It's a pleasure to dive back into Control, and that's why I genuinely enjoyed my time with The Foundation. I still love hunting down every research note and every minute-long audio file -- anything to fill in more of the lore gaps in this bizarre, enigmatic world. This expansion does all of that even if it's ultimately left feeling inconsequential. Ironically, The Foundation fails to build on the excellent structure Remedy already built with Control.