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Average User Score: 6.4May 16, 2017This review contains spoilers, click expand to view. [Condensed Version]
I was a fan of the first Outlast game because it was an indie developed gem that gave players some genuinely frightening thrills and showcased gruesome brutality and a defenseless protagonist thrown into a thoroughly haunting narrative. The sequel lives up to the original’s premise in many of the same ways and boasts incredible graphics as far as technical advancements go, but alas it doesn’t do much else differently. I’m not saying I’m tired of the agenda that the first game pushed however going through virtually the same gruesome experience with the only differences being a slightly less obviously linear setting and better visuals obscured by the prevalent darkness that envelops the Arizona countryside isn’t going to garner much more kudos from me.
The previous Outlast title pushed the boundaries of what is allowed by the mature rating beyond a doubt, featuring genuine anguish and suffering on screen as well as more gruesome fatalities than Mortal Kombat has in its entire roster. The experience was haunting and memorable and for that reason alone many people have undoubtedly tried Outlast II in the last few weeks. If you’ve already played the first game or if you’re starting with this sequel it makes virtually no difference as the stories bear little connection (save for some obscure references) and you’re essentially playing the same game anyway as all the mechanics are there.
What Outlast II does get right is horror- visceral gripping horror like the bogeyman stalking you through the night and psychological intravenous horror like the blood rushing through a dreamy corridor. You’ll ultimately meet your maker more than a few dozen times by the end of Outlast II because you were either jumped by the seemingly endless horde of bogeymen waiting in the shadows or gutted like a fish by a witch-like woman or you simply tried to take in the beautiful scenery through the film grain of your night vision camera and didn’t see the horribly scarred monstrosity before it was too late. The story is very much rooted in horror both physical and mental or spiritual and yet for all intents and purpose the environment and the encounters themselves tell a more intriguing story than the convoluted cultist conspiracy that Outlast II is at times.
That’s not to say I wasn’t thoroughly interested enough or invested enough to forego searching for notes and clues along the way or to read plenty of theories online with regard to the calamitous ending that wasn’t nearly as clear as Outlast’s Wahlrider ripping things apart. And while things are truly interesting because you’ll be questioning your sanity and surroundings as much as you did in Eternal Darkness or The Evil Within, they’re still inevitably confusing and ambiguous as can be which will prove frustrating for many gamers (or anybody who played Alan Wake). What is easy to grasp however is the vicious cycle of murder, rape, incest, greed, gluttony, suicide, and general sinfulness that the story follows and touches upon- whether through cultists in the present or the backstory of your camera-wielding protagonist.
One of the most intriguing advances in Red Barrels’ gameplay formula this time around is the ability to actually record footage with your camera which is not just a gimmick but doubles as your checkpoint feature and a way to commemorate portions of your deadly adventure. Of course you’re not likely to take part in some Blair Witch activities such as readily videoing a man being vivisected by cultists but then you never know what may be required when the time comes. The microphone on your camera will also tell you when enemies are nearby but considering the fact they almost always are and it’s pretty much never guaranteed whether or not they’ll sense your presence, don’t leave your hidey hole as soon as it says the coast is clear.
The game has a lot to offer and expands the potential of the previous title and yet it never fully cashes in on any of what it has to offer- ultimately it falls down in the third act in terms of story and repetitive gameplay. What was once fresh and exciting becomes overdone and less tense or terrifying and more annoying and anticlimactic. It is one of the most visceral and intriguing glances into the mind and mental issues in gaming as well as the effects of torture and trauma on human beings yet the overall experience ends up being shallower despite the oozing ambition and potential. Outlast 1 was great because it was developed on a small budget and we weren’t exactly sure what to expect. Outlast II could’ve been great but it delivered too much of the same experience and doesn’t push the envelope enough to make the deep dive into uncharted horror territory. Instead you’re just a timid man with questionable mental issues and a puny camcorder, facing off against the dark.
Replay Value: Moderate.
Overall Score: 7.0… Expand
Average User Score: 7.7May 15, 2017This review contains spoilers, click expand to view. [Shortened Version]
Arkane recently released their 1.02 Patch for Prey and with that decisive patch I’ve deemed it appropriate to finally present my review of the game in earnest. Prior to the patch the PC build of the game was virtually unplayable which was integral to my review considering I typically play through games on at least two of the three or four platforms they’re typically offered on so as to make sure there aren’t incredible differences in performance between one or another.
You’ve undoubtedly enthusiastically witnessed Prey’s opening several times by now and regardless of if you played the 2006 title of the same name and with a semi-similar setting, you’ll immediately notice that not everything is as it seems. Despite some of the similarities between both 2006 and 2017’s Prey iterations they are indeed two completely separate and intriguing games with intricate plots and fine-tuned combat mechanics. Prey (from here on out 2017) starts off slowly but gradually picks up speed and administers the steady drip drop of difficulty and balancing as you progress. In its infant stages the game is likely harder than it will ever seem due to a lack of available powerups (neuromods), so if you can make it through the first four hours or so then chances are you’ll enjoy the game.
Perhaps the most intriguing choice in design and gameplay is the ability to fully define who Morgan Yu (You, the player) is and just how that effectively ties into the plot as well. Throughout the game you not only determine Morgan’s gender and acquirable skills but also the moral code that he or she adheres to through choice and consequence, not through measly dialogue options or barebones plot development. This aspect of showing and not telling is ever-present throughout the game and I enjoyed the approach a lot more than inserting a bunch of useless and wasted dialogue into an otherwise perfectly ambiguous experience that is open in every sense of the word.
The set-up, if you don’t already know it, is quite straightforward from the onset: an alien lifeform known as Typhon has taken over the Talos-1 space station and you are its only hope. Whether or not you choose to destroy the Typhon, Talos-1, or even the few remaining humans on board is entirely up to you. I won’t ruin the numerous choices that you must make or abstain from making along the way but let it be known that for each and every action there is an opposite and not always expected reaction. In its opening moments Prey is less concerned with the eradication of the Typhon and more so with the survival of Morgan Yu and discovery of Talos-1 itself. Although it establishes itself as a survival horror shooter of sorts, these elements will largely fall by the wayside as Prey delves deeper into upgrades and it becomes less focused on survival and more on combat- albeit ammo and weapons still being quite scant.
Combat is where Prey both lives and dies by its sword so to speak. In the early moments of the game it is equally tense and devastating, yet due to the fact that stealth is oddly never quite flushed out you’re virtually forced into combat rather than trying to sneakily make your way across the station. There are certain benefits and drawbacks to the neuromod upgrades you receive over time however the absence of them until later on forces you to attempt to tackle the experience in a much more difficult and meaningful manner. As terrifying as enemies are perhaps even more scary is the ever-present health bar hovering over their heads that barely ticks down with each wasted bullet or wrench smack. Nightmares can especially soak up an extreme amount of damage from even the game’s strongest weapons and as such as foes to be avoided at all costs.
Only when the game balances a little more in your favor does combat become both meaningful and enjoyable in earnest. After the opening few hours and after acquiring a few mods or upgrades you can feel more at ease in openly wandering the halls of Talos-1 and engaging larger foes than Mimics in close quarters. Using mods to unlock Typhon-related powers is perhaps the most enjoyable Dishonored-like aspect of the game however it also carries an unexpected narrative risk as well. If you spend too much time unlocking these intuitive and useful powers then the automated turrets which once distinguished you from foes will fail to support you and eventually open fire on your Typhon-imbued DNA as well. Of course by that point you’re more than likely unstoppable as is.
Sound: Both the musical score and voice work are incredibly detailed and well-done. The soundtrack perfectly captures every scare and situation and the voice work is handily delivered throughout the experience when needed.
Playability: Although it can be complicated to grasp at times the game only proceeds to open up as the space station itself opens to you and you gradually progress deeper and deeper into the experience.… Expand
Average User Score: 8.3May 8, 2017This review contains spoilers, click expand to view. [Condensed]
Edith Finch very much finds itself fixated with the prospect of death and yet it also proves that there is always something to live for. It is a very interesting and unique take on the human condition in more ways than one and even livens up the otherwise tried and tired concept of walking around a house or other mostly linear area and reveling in your exploration a la Gone Home and Firewatch. Rather than merely be a carbon copy of all things done in the past, E.F. makes its own strides work and pushes far beyond what we’ve seen thus far.
There is still the detailed way in which you must inevitably uncover clues and progress the plot, however the mere way the text is represented and narrated as you watch the words shift and fold onto the screen and on objects of interest makes things interesting enough. As you search the house and come across items belonging to lost relatives or objects of interest the creative ways in which the smoky text scrawl onto the screen and off of it when your perspective shifts are always engaging and imaginative. Although you are playing as the last Finch and the titular Edith, it’s also interesting to note that you’ll be literally living through the morbid ways in which your relatives bit the dust as well through reenactment and reading.
There is an attention to detail in both the narrative and housing situation that constantly wowed me in ways that the admittedly bland games that have come before have not. Edith Finch looks graphically amazing and it also adds a believable amount of clutter to its main setting in ways that Gone Home and Firewatch and other similar title have not managed to do. At its root it is essentially the same type of game and yet with its variety of established characters and rich story it feels radically different as well. Although you will find yourself listening to just as many narrations and dialogues as any other exploration game in the same vein, the way it dynamically draws players in is both admirable and thoroughly worth the investment of a few short hours.
What Remains of Edith Finch is both an experience grounded in reality and one that offers a sublime and surreal quality not before seen in the genre of late. Adventure games are very much making a comeback and in my mind Edith Finch is leading the charge as of right now. There is an ironic sense of childish fantasy overlapping with discussion of adult subjects and overall mortality and morality which is something that remains engaging throughout the morose and macabre environments you’ll explore. The game does a great job of balancing the lighter and darker elements and sometimes they’re quite difficult to distinguish from each other a well.
Although there is a degree of linearity particularly in how each segment where you “play” as another family member pans out, it’s interesting to note that there are still those little instances of openness and ambiguity offered to the player in how you approach situations that eventually lead to the same inevitable conclusion. In some ways it operates as the Telltale brand of interactive storytelling does, albeit without the same level of choice in terms of alteration to the overall narrative. The text-driven narration and the general environments themselves often mesh together in ways that draw your attention from one thing to the next and never leave you feeling out of the action or bored for a moment- something that even excellent AAA games could learn from lengthy audio tapes and collectibles.
There is a certain degree of ambiguity to the game’s eventual conclusion despite the premise being relatively straightforward and to simply ascertain what has lead to the demise of your relatives. That is your main goal and an easily accomplished one, however part way through the story it also becomes clear that something darker and more sinister is also afoot. Although there are hints as to how and why your relatives have been lead like lambs to the slaughter, it’s left ultimately up to players to mostly infer why and how. The saddest thing of all is that this information is purportedly available to you however circumstance dictates time and time again that you’re denied the full revelation and as such culminates in a slightly disappointing finish to an otherwise brilliant title.
Graphics: The game is artistic and beautiful and constantly shifts between realistic and surreal at the flick of a switch. It conveys the tone and the mood throughout the narrative and often reflects what is being said as well as what is being felt in a believable manner.
Sound: At times the voice-work can be quite mesmerizing and is certainly one of the higher points for the game. The sound work is also respectable and shifts to suit the tone of the moment being played out.
Replay Value: Low.… Expand
Average User Score: 6.3May 3, 2017This review contains spoilers, click expand to view. [Excerpt from Original Review:]
Sniper: Ghost Warrior has been an interesting if flawed series thus far with three entries to its name. While the first game was beyond mediocre and the second improved upon the formula in many ways but still didn’t offer much in the way of quality, the third time may actually be the charm for City Interactive. It’s by no means a perfect game but it is well on its way to being a decently good one and presumably once the upcoming patches hit and hopefully fix some of the glaring issues, we may finally see a competent modern day stealth-sniper title to rival the WWII and Cold War settings of Sniper Elite.
When all things have been said and done, Sniper: Ghost Warrior 3 surpasses it predecessors with ease but still doesn’t feel like it’s quite lived up to its potential or what it means to be a current generation game. It’s a competent and interesting experience and hardly a bad one, however it is remarkably hindered by a lot of technical issues and by the inability to capitalize one what could’ve been excellent additions in both depth and replayability. The main experience is well-done but the side content offers little in the way of recompense for a lack of reason to return once you’ve finished the linear mission structure.
Concept: City Interactive crafts their third entry in the Sniper: Ghost Warrior series and brings the series into both the current generation as well as the thoroughly over-saturated open world shooter market.
Graphics: Although it utilizes a version of Crytek’s CryEngine, Ghost Warrior 3 features some prominent graphical hiccups despite having really realistic and well-done visuals whereas weather and some environmental aspects are concerned at times.
Sound: For a game about stealth, sound plays an integral role in the experience at least in terms of gameplay. Outside of that however, there isn’t much to be said for the soundtrack itself although it does ratchet up the tension at some appropriate times. The sound design isn’t the best as far as voice acting goes but the sounds of bullets dropping and weapons and gadgets clicking isn’t too shabby.
Playability: It’s fairly simple to grasp the fundamentals for a basic runthrough of the game. As far as the controls themselves go, the game handles surprisingly smoothly and fluidly despite technical hiccups breaking up the pacing here and there at any given time.
Entertainment: Despite its flaws, Ghost Warrior 3 is as entertaining as games like Far Cry and Sniper Elite have proven to be for many of the same reasons. It’s not altogether original in what it seeks to accomplish and yet it seems to have aped the correct gimmicks and elements of those respective games enough to present a varied and entertaining main campaign.
Replay Value: Moderate.
Overall Score: 7.0… Expand
Average User Score: 7.7Apr 30, 2017This review contains spoilers, click expand to view. Before I begin this semi-review, semi-not-a-review post in earnest, allow me to state the obvious: you’re undoubtedly going to hear Little Nightmares in the same conversations you hear about Limbo and Inside in some ways. Ignore that chatter. Little Nightmares my strike some similar chords to what Playdead has done with their past titles, however it is in no way striking the same tone or note in what experiences it attempts to convey.
Yes, there are the similar tropes that come with dark games and brooding environments featuring dire and grotesque consequences for any unwary and unwelcome traveler. There are ultimately gruesome ends your adorable character can meet and plenty of equally gruesome foes to send her there. Environmental hazards and puzzles come in equal numbers and the mere use of light and darkness is more than enough to set the tone for each stage of the short yet endearing exploration.
If you’re into platforming puzzle titles that also feature palpable amounts of ambiance and relevant horrors and low-key fears that will probably make you cringe once you realize the extent of their depth and attention to detail, then Little Nightmares will rock your socks off. Or knock them off and freeze you with fear. Perhaps the most exciting component in the game is that it leaves pretty much everything except what you see with your own eyes quite ambiguous in an almost ‘Souls’ sort of way (of handling lore)- minus the bloody scratch marks on the ground everywhere.
Ambiguity permeates the entire experience and makes it a more convincing and exceptionally interesting one for that matter. You aren’t even given so much as maybe the occasional hint to rotate the camera around if you get stuck, however the rest of the controls are never exactly specified and so it’s up to you to learn the ropes. The experience perfectly meshes both two-dimensional and three-dimensional perspective into a very well thought out 2.5D platforming puzzler.
Although you are very definitely little and dwarfed by the surroundings you will encounter, there is nothing little at all about the immense nightmarish rogues you will inevitably face or flee. Because you cannot fight back in most cases, there is always an air of tension and terror whenever these foes enter the picture and you must fly through some puzzle or another and make it to the next area. I’m still quite shocked at how well thought out each room is and how each area ratchets up the tension and the screen literally crawls with the sound effects and slight background happenings as well.
Little Nightmares is a game that will easily catch you if you pay too much attention to your surroundings, but will ironically let you escape its clutches time and time again should you not find yourself entirely caught up in the warped reality it presents. For the most part the puzzle and platform gameplay never gets too difficult and so the entire experience is perfectly accessible, enjoyable, and entirely worthwhile in my opinion. The presentation itself will pique your curiosity and then the events themselves, as they unfold, should firmly grasp it and drag you into the experience.
The vivid imagery and scenes steal the show almost when coupled with the eerie and daunting soundtrack accompaniment. Oftentimes you may stumble onto a new area and not even notice the body dangling from a rope overhead with its feet just barely visible or the faint outline of a shadow shuffling hurriedly in the background. It’s the moments like that that add to the feeling that someone is always watching and that every skittering motion on screen is some new devilish foe come to rend your flesh or curdle your blood.
Needless to say, Little Nightmares isn’t your typical horror game and it’s much better for that fact. Ambiguity is the name of the game and the game itself will wear you out each and every time you think you’ve understood its nature- right up until the very end. You can feel free to stop and stare at the beautiful surroundings any time, however it still has a relatively run time and as such is a compact and entirely artistic and expressive experience.
If I were to apply my typical review material and run down the brief checklist of everything I tend to go through in those lengthy posts, Little Nightmares would be getting no less than a 9.5 out of 10 from me. It’s entirely deserving of that and a highly replayable experience if only to see the little touches that you’ll pick up with each runthrough here and there.… Expand
Average User Score: 8.9Apr 30, 2017This review contains spoilers, click expand to view. [Portion of original Full-Length Review]
One of the most intriguing aspects of gameplay at least stylistically stems from the change in perspective that litters some portions of the game. Typically you play in an over-the-shoulder third-person format, yet on occasion the game shifts to on the rails and top down perspectives for intense firefights utilizing your full android arsenal and party. While ultimately even the bullet-hell segments of the game boil down to eliminating your enemies and clearing the area in search of any interesting lore or story progression, I still found combat and the nice pace of breaking things up a suitable way to keep the monotony of most hack and slash titles to a minimum. The combat is solid enough that there honestly doesn’t need to be too much done with it that is flashy or gaudy and the enemy encounters and boss fights are memorable enough and frenetic and entertaining as is.
The world and lore is entirely too intriguing for it to be limited in some of the ways it is- perhaps not literally as it is quite expansive, but in terms of scope and use as a character in and of itself. All things considered, if you played the previous installment then you’ll probably agree that Automata is certainly a leg up on the original in nearly every single way possible. The combat encounters are fun if not always diverse, the lore is handled quite well and manages to promote some intriguing plot lines, and the gameplay mechanics are quite solid and rarely offer any hiccups to halt the fluidity of the game. If you’re looking for an experience that has the ability to be a comprehensive one but doesn’t force you to explore it as deeply as you could, then Nier: Automata is for you.
Concept: Guide your android comrades in the eternal war against the machines. Quite literally, rage against the machine.
Graphics: While you will see ultimately a lot of the same, what is there is rendered quite well and there aren’t too many muddy textures involved.
Sound: The melancholy mood that permeates the soundtrack and the narrative itself lends to the experience overall and is a strong selling point.
Playability: While it has some quirky features and abrupt changes in perspective at times, the gameplay handles excellently and fluidly throughout your adventure.
Entertainment: There are often hidden depths to be found but the main draw lies in the fact that the experience is totally what you make of it and there are many interesting facets to the characters and the world and conflict themselves.
Replay Value: Moderate.
Overall Score: 8.5… Expand
Average User Score: 7.1Apr 30, 2017This review contains spoilers, click expand to view. [Snippet of Full Length Review]
Besides star-power and an interesting time-related gimmick along the lines of something out of 2010’s Singularity, Quantum Break is interesting in other ways as well. For one, it is both a live-action television show and a video game, each part intermingled with the other in an intricate yet optional playable and watchable experience. This is really where the acting credits come in handy and where the story and lore progress deeper than they could in the base third-person action-shooter game itself. The story itself as well as the fluidity of gameplay mechanics are certainly the highlights and have been praised by other critics as such, however some of the other mechanics such as platforming and general locomotion are a bit messier.
Although it is intrinsically a shooter game and these typically don’t have much to offer in the way of a story, Quantum Break’s plot is fairly refreshing and interesting, not just for the genre but for gaming as a whole. It does admittedly share similarities to some other time traveling adventures but then that exists only because many of the same issues that have always been theorized regarding time travel exist in this incarnation as well of course. One unique mechanic the game features is the built-in ability to essentially decide how the protagonist and antagonist will act and how that will shape the course of the plot itself. The game does a good job of representing Aidan Gillan’s (of course) chaotic character as neither good nor bad and sets him up as a definitely complicated antagonist that largely acts according to how protagonist Jack Joyce (Shawn Ashmore) reacts to…well it’s all really spoiler-ish and confusing so I’ll stop there.
When all things are said and done, Quantum Break should be and is an interesting new direction for Microsoft because it presents an original playing field with many talented actors and an intriguing yet potentially well-written and already closed script as well. Although I could see how the game could become a series, it also offers a thoroughly satisfying experience and conclusion which means it could be one of those highly praised cult-classic one-off games some day soon. There’s room for improvement and also some room for upgrading the story to be a little less linear and yet with all the background details and lore and episodic live-action pieces included it really is a pretty complete bundle. I’d like to not only hear or see more about the universe- not even in video games but perhaps through other mediums such as comics or novels, but also just see how similar elements that worked well in this game could be implemented into others successfully as well.
Remedy Entertainment is well known and well-praised for their work on some unique cult-classics and projects such as all things Alan Wake. Although many people would like to see Alan Wake 2 (in earnest) or see them take the helm on other ambitious and interesting projects, I also think working on Quantum Break was the right call and that they really nailed the tone and pacing they were aiming for. Sam Lake (who you may also know for producing stories in relation to Max Payne 1 and 2 as well as Alan Wake and a credit in Gravity) couldn’t have been a better fit for directing the effort and for managing the elements that would eventually come together to form a brave new live-action meets interactive adventure and game trope. Honestly, I’m a little disappointed that nobody else has started to implement the themes yet into their own development projects quite yet.
For me, Quantum Break exists somewhere in the 8-9 range in terms of assigning an actual number to it, if that were even possible. It does so many things well despite what could’ve ultimately ended up as an otherwise generic shooter like so many others out there. The story is both original and actually engaging, with memorable characters and talented actors truly bringing it to life and making me actually feel invested in the moment to moment action. Whether it was actually taking the time to watch each lengthy episode or play through the intermingled game portions, the entire package as a whole is a unique and lovable experience. I’ve been truly interested in some of the theories and lore ever since and would definitely love to see the brand used elsewhere even if it never comes back to gaming- it’s too much of an interesting tale to not take advantage of.… Expand
Average User Score: 6.9Apr 30, 2017This review contains spoilers, click expand to view. I’ll admit it outright- I was more than hyped for the release of Tom Clancy’s The Division in more ways than I can possible explain. The basic premise of an unforgiving romp through a devastated New York City struck chords favorable to Crysis 2 within me and that was fine by my standards. Add to that the fact that it was the first Tom Clancy game I’d been thoroughly excited for since Rainbow Six Vegas 2 and Ghost Recon Advanced Warfighter 2 and you’ve got yourself quite the hype train rumbling down the tracks.
What transpired is something altogether different than I’d initially imagined and envisioned, although that’s not to say it was terrible or that it hasn’t evolved over time to become a closer image to what I expected. As with any MMO/RPG, The Division fell into many of the same traps that Destiny did in the year or so before. The saving grace for these games is that the developers can take this into account and slowly update it enough with each new patch or content release and bring the game closer in line with what players expected or asked for. The disappointing part is that this takes time and not everyone has the patience to wait for a game to become what it should’ve been from the onset.
Once you eliminate some of the ironically farfetched aspects of the game and its gameplay and factor in the realism and attention to detail, The Division is quite the grandiose picture of a devastated NYC after all. The environments are certainly one of the stronger aspects both in aesthetic pleasure and tense action forced upon you by harrowing conflict in close quarters with an adaptable enemy. The cover system is quite progressive and you’ll certainly need to utilize the variety of environmental protection as you take the fight to rioters, looters, and heavily armed militia forces attempting to make the most of a bad situation. The enemies you’ll face are some of the smartest in terms of functioning thought processes, even if they’ll often open themselves to easy dispatching as well.
When I think of the Tom Clancy brand of games I often immediately think of action-packed tactical outings such as Splinter Cell or Ghost Recon. Truthfully, in the last few years the TC games we have seen have either been a disappointment or fallen somewhere outside of this traditional category. We have had wonderful additions to the Splinter Cell family, but the newest Ghost Recon titles have been far from great in terms of following the tactical baseline. I’m all for trying new things out and The Division is a testament to that for the TC label and surely an influence ultimately for Ghost Recon: Wildlands as well, seeing as it shares the same genre type. What I mean to say is The Division has broken some new ground for better or worse- it does what it states and no more or less, considering the fact that it sticks to tactics and ultra-realistic firefights.
While I recognize that even now it still has its flaws, if I had to recommend whether or not to purchase the game I would definitely say to go for it if you can secure the complete package- DLC and deluxe items or whatever else may be available to you. Microsoft, Steam, and Play Station Network all often offer deals on titles that have been out for some time and packages as well so it shouldn’t be too difficult to find on any main platform. Whereas Rainbow Six: Siege is a great game bogged down by paid content and premium status packs and an initial barebones game in terms of content, The Division only really offers three major expansions and the rest of its paid content is mostly cosmetic. I’m glad that Ubisoft has foregone some of its typical shenanigans concerning paid and premium content and followed more along the lines of Bungie and Destiny.
Ultimately if I were to assign the game a score it would have to be somewhere in the 7.0-8.0 range, even as of now. I’d certainly lean towards the 80% mark rather than anything lower than 75% however, but I cannot say the game doesn’t still have its fair share of glitches, bugs, and design flaws at times. What is there is approachable and definitely enjoyable, it’s just a matter of persistence and patience as well. I definitely enjoy the frantic feel of combat both against computer generated enemies and player controlled foes in the PvP/PvE Dark Zone. The Division is certainly an interesting take on hybrid shooters, that much is certain.… Expand
Average User Score: 8.2Apr 30, 2017This review contains spoilers, click expand to view. [Portion of the Full Review]
For such an impressive and massive exploration of game design and creation, The Legend of Zelda: Breath of the Wild is truly a testament to Nintendo’s commitment to quality experiences in perhaps what is their greatest series ever. There are a few technical issues at times and yet for the life of me I can think of no other detriments to the overall experience that Breath of the Wild offers- which is truly astounding in such a large game, as the majority of even the most finely tuned experiences such as The Witcher 3 have had their fair share of dramatic bugs and glitches over the years. All things said and done, where you’re a long-time fan of the series or a newcomer altogether, if you have a Wii U or perhaps the Nintendo Switch, I implore you to give this game a whirl as it’s a truly unforgettable and worthwhile experience like none other. It’s way too soon to tell for certain, but compared to even the greatest iterations of the series, Breath of the Wild will be remembered fondly.
Concept: Meld traditional elements of The Legend of Zelda series into a truly open world design that tasks players not only with survival but exploration for the sake of progressing through the experience.
Graphics: It is not the gritty experience that Twilight Princess was in its more realistic art direction and yet Breath of the Wild’s design is flawless and fits perfectly with the tones present throughout the narrative.
Sound: From nature’s call to the subtle yet fitting melodies that ramp up with each new discovery and encounter, the themes are slightly different from past soundtracks in the series and yet they work just as well.
Playability: Forget past issues with motion control and sometimes finicky elements on the Wii and Wii U, as far as I am concerned the mechanics and controls handle better than they ever have before.
Entertainment: Whether you choose to mix story and side elements or pursue one solely over the other, Breath of the Wild is a thrilling and compelling experience and one that you will surely remember for a long time to come.
Replay Value: High.
Overall Score: 9.75… Expand
Average User Score: 7.7Apr 30, 2017This review contains spoilers, click expand to view. Silly old me thought for the longest time that the title of the semi-spiritual successor to Myst/Riven/All-That-Good-Stuff point and click adventure was a mere typo or perhaps creative indifference to the spelling of abduction. As it stands, I think it rather ironically would encapsulate the narrative in either its present spelling or that alternative. Obduction instead refers in no small part to something along the lines of opposite subduction, or rather oceanic lithosphere forcing itself over continental counterparts.
All that scientific banter aside, Obduction really is a fitting title for this game and since I’m seeking to avoid spoiling the majority of the narrative, I’ll say little more than that. At first glance it seems like just another adventure seeking to cash in on this newfangled idea of nuevo-retro. What I mean by this is that it takes an old gaming concept and places it into a new gaming era and melds the best of both worlds, or in this case multiple realms. The narrative and lore behind Obduction is certainly one of its strongest points and like the Myst saga, I really enjoyed how it was fleshed out and how things are rarely as they initially seem.
Even with Cyan Worlds having developed the game with the thought in mind for it to be a spiritual successor to Myst/Riven, the only ways in which it is truly similar stem from the gameplay and some of the ideas of travel and various worlds and time displacements and similarly intriguing alien technology. If you know anything about the Myst series- whether it be lore or gameplay or overall narrative, then you may find this particular title engaging as well. The most interesting of all the narrative elements and potential in Obduction is definitely the meshing of several worlds and several time periods. For example, there is an advanced alien subculture lying dormant right alongside a displaced wild western town straight out of the late eighteen hundreds.
Perhaps another of the unintended and yet awesomely interesting elements of the game is the ambiguity surrounding narrative and character choice. Certainly, some things will undoubtedly seem and in fact be very linear throughout the adventure. However there are also particular points littered throughout the story where your character’s journey or the concurrent adventures of the few other beings you encounter may come to an abrupt and even brutally twisted end. I won’t say much more for fear of ruining some of the finer endgame moments, but suffice it to say few things are as they seem.
Obduction, if it aspires to be anything else or anything other, is certainly a game revolving around unintended consequences and brilliance of simple design. I think that is probably one of its other admirable traits, and it is definitely something we don’t see as much nowadays or perhaps ever. I thoroughly enjoyed the adventure itself for the feelings it elicited, the narrative tropes it trod, and the lore it hid slightly beneath the surface. It is always invigorating to experience something along the lines of a thrill ride in such a seemingly archaic and simple adventure game revolving around core mechanics such as light puzzle solving and information gathering. Yes, it can inevitably have its boring or even low points, but if you stick by it then the payoff is totally worth it.
For what it’s worth, I have only good things to say about this particular title as a whole and I would probably give it somewhere between an 8.0 and 8.5 out of ten. That’s high praise coming from me and something I believe it is entirely deserving of as well. I implore you to give it a whirl if you’re into old school adventures, an interesting story, or simply want to branch out into a new genre of gaming.… Expand