Valve’s Portal could have just been a puzzle game set in a Cube-esque nightmare, but instead it elevated itself above the genre with its subtle narrative that had you play Chell, a silent woman escaping a malicious AI.
Hot off the cybernetically enhanced heels of Deus Ex: Human Revolution, this similarly themed action game is like one of the failed abortions of Ripley in the fourth Alien film we all try to forget exists. Inherently flawed failed potential.
In the battle between turn-based and real-time strategy games, I am on the side that gives me at least a minute to decide how to move forward. Turn-based it is then!
Long story short: United Front Studios were making a game called True Crime, but then Activision cancelled it. Square Enix picked it up and it was reborn as Sleeping Dogs. This jerry-rigged True Crime had the makings of a disastrous flop and yet has ended up a brilliant entry in the crime sandbox genre.
FFXIII got a lot of negative feedback upon release. By the time I got round to playing it I was expecting the worse. Instead, what I experienced was a passable and somewhat entertaining story told with style. Its major criticism was its linearity. The ‘corridor shooter’ of RPGs! Well, I’d rather that than an open world game with no story. (hello Dark Souls, ‘sup?)
Yager Development and 2K Games have delivered a visceral experience to gamers with Spec Ops: The Line.
Coming from a moderate fan of Demons Souls, I was hoping that its quasi-sequel Dark Souls would improve on some of the flaws of that game. Namely, its depthless obscurity. Its inability to teach the gamer how to do basic things or understand basic concepts. Theoretically you could have played that entire game without knowing how to use magic, because you had no idea where a certain NPC was and could have missed them.
An hour into this game I had:
First, some context for this review of the fifth iteration of Team Ninja and Tecmo’s popular fighting game featuring breasts with humans attached.