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Players will remain invested in a story that, if not entirely original, remains exciting and poignant in equal measure.
It doesn't ever completely shy away from using filler material after successfully building so much momentum.
This revival of the 2003 cult classic is a rhythm game driven by the synesthetic idea of physically interacting with sound.
The game's images convey less the abstract terror of an unknown world than they do a sub-American McGee warping of childhood innocence.
Imagine a roller coaster that stops for maintenance every 30 feet and doesn't allow you to exit, even after you've already been around the track a few dozen times.
The game can be enjoyable, but the barrier to entry is so high that it's hard to recommend.
Throughout this cynical gaming experience, the message of the show seems clearer than ever: reject dignity or die.
The story crafted by Tales isn't just a fine Borderlands sequel, but one of the most enjoyable sci-fi adventure stories in recent memory.
Unfortunately, Sileni Studios, in attempting to present something deeper and more original than your run-of-the-mill artillery title, has painted itself into a corner.
When Darksiders II sticks to the actual essentials of the main story and not its so-called Deathinitive features, it's a solid action-adventure-RPG hybrid.
The game places trust in the moral, philosophical, and intellectual response of the audience.
The game is filled to the brim with content, most of it disappointingly or needlessly executed.
It's weird to say that Fallout 4 operates under the principle that less is more, since its vision of Boston is dotted with hundreds of hours of things to do.
In Rise of the Tomb Raider, the action set pieces come first and the narratively satisfying reasons to do them second.
Fatal Frame continues to treat the split between shooting and running as a productive tension, with results that are equally exciting and scary.
We now have a complete, perfect version of The Binding of Isaac, one which can sustain no further refinement.
The aesthetic of the game is immaculate, stark yet beautiful, suggesting what a Fast and the Furious might look like as helmed by Michael Mann.
It's the mix of the mundane and the mercurial that makes Life Is Strange worth living.
The campaign, predictably for a title whose main focus is its editor, remains serviceable but fails to impress.
Tales of Zestiria relies entirely upon its entertaining, colorful cast of characters to distract players from anything even remotely tedious or derivative.