The A.V. Club's Reviews
Conquering a kingdom, as Inquisition proves, can be much easier than ruling one.
Far Cry 4, for all the action it includes, for all the things it lets you do, proves woefully unengaged.
With an almost staggering variety of new creation tools and a whole new training area designed to teach about them, LittleBigPlanet 3 is clearly a game with creators in mind. Those tools alone cannot justify the price of admission, though, and the package that accompanies them lacks the series' signature imagination.
Never Alone is not just telling a story—it is connecting the player to a culture. To play it is to be transported to two places simultaneously. First, to the world of Nuna and Fox, and their epic journey through the blistering cold. And second, to the warmth of a fire, listening to an old man tell a story that is as old as the Earth, feeling it sink into you for the first time.
Ubisoft has proven that it is capable of pushing the series in a novel direction, and that's why the complacency of Unity is especially disappointing.
This sort of ridiculousness proves a good fit with Call Of Duty's metamorphosis. The removal of any meaningful ideology—however toxic it was when present—has diminished Call Of Duty to the level of pure fancy. It is, in other words, free to be silly.
The Legend Of Korra game is the "much, much worse" scenario, and the kindest thing to say about it is that it serves a similar function to the anemic stage performance in "The Ember Island Players." Through sheer inferiority, it's a reminder of what makes both the series it's based on and the games it imitates so beloved.
The Evil Within eventually gives Seb a reason to soldier on, far too late into the story. At that point, he's the only one it helps.
This is a bigger, bolder Peggle, but it's the little musical details that end up making the difference.
Is any of this scary? Often, yes, insofar as I remained terrified of being killed and forced to replay the 30 minutes since the last save point. Mostly, it's just annoying.
Shadow Of Mordor, though, successfully draws on some of that material in a way that is simultaneously engaging for a fan of Tolkien's extended works but not alienating for those passingly familiar with the story.
After a few dozen hours under its spell, the title of Destiny sounds like cruel irony. The game's marketing materials would have you believe that the title means your ultimate heroism is somehow inevitable, like a mythical hero of legend. But the term might as well refer to the state of grinding through the same tasks and seeing the same pretty but sterile scenery over and over again, like a space-age version of Groundhog Day, in the fallow hopes of pimping out your Guardian to the max.
Had it gone with a more crafted experience, zeroing in on a consistent tone and a series of clearly defined challenges, CounterSpy could have been more Three Days Of The Condor rather than This Means War. All it needed to do was remember the 7 Ps, one of the British military's enduring adages: Proper prior planning prevents piss poor performance.
Above all else, Hohokum is a constant reminder that the verb used when we interact with games is "play."
Valiant Hearts gets most of it right. In the end, it's just an incredible relief—if a decidedly un-American sentiment—to play a memorable war game that isn't some Rambo-inspired revenge fantasy. Well, that's not exactly right. It's a memorable game that just happens to be set during a war. And that makes all the difference.
Content to be normal, Watch Dogs speaks more potently to the intellectual chill within its industry than it does to any oppression without.
It's times like that one, when Murdered actually feels like it is thinking about what the player wants, that it's possible to enjoy the game's elusive premise and nonviolent eeriness. But most of the time, it's an unfocused experience that breaks its own rules and serves up the barest of challenges. It's much easier to accept that Murdered isn't really thinking about what it's doing at all.
Beyond its mechanical parts, The New Order is a relief because it's a reminder that profundity doesn't necessarily need to be linked to big, universe-shattering ideas.
So yes, Transistor is slow and annoyingly coy. You shouldn't have to play it twice to perceive all of its lovable quirks. Playing it twice, though, is still preferable to not playing it at all.
Child Of Light is a joyous story about how tragedy, be it in achievement form or otherwise, shapes the strongest of us, how the only way to measure love is through pain. Aurora's coming-of-age is disguised as a righteous fight. There is a lot of tragedy in Child Of Light, but she chooses to see the triumph.