Matt Gerardi
This is a bigger, bolder Peggle, but it's the little musical details that end up making the difference.
That goofiness belies what is ultimately a showcase for Capybara's serious game design chops.
Nintendo overcomes Super Smash Bros.' identity crisis on the 3DS
[I]t's a confirmation of what Smash Bros. has been all along: a raucous, reverent celebration of Nintendo games and the people who play them. And the best part is everyone's invited.
[Y]ou'll probably never kick the stumbling habit entirely, which is fine, because you're always liable to stumble into something beautiful.
Yharnam is not some obstacle course waiting to be exploited for a cheap thrill. It's alive and well aware of its allure. That cure we all seek is in there somewhere, but this city isn't going to give it up without a fight.
The upsells are just a thin layer of corporate monetization atop a mountain of sincerity, love, and dismemberment.
In 2015, and with no mind digitization in sight, the questions Soma raises are difficult to answer without dreadful introspection.
That's part of the beauty of Woolly World, though. It's only as difficult as you want it to be. If you can't figure out how to get that bundle of magenta yarn tucked away behind a towering water monster, you can just forget about it and move on.
In large doses, all that fighting can be tiresome, but the best thing about Fallout 4 is that it wants you to have something to fight for—more than just a vendetta, or some life-saving MacGuffin, or the player's own bloodthirsty whims. Grizzled, score-settling lone wanderers will feel at home in The Commonwealth, but this world offers something more: a chance to rebuild, to belong to something bigger than yourself and defend it from all comers. The most you can usually hope for is "This place isn't so bad, for a shithole," but at least it's your shithole.
Those clever, dialogue-driven interludes are all the downtime Paper Jam needs. Yet it pads itself out with mindless chores that waste time and momentum.
In truth, Street Fighter V is a lonely and impersonal game. You can't chat with your opponents, nor can you request a rematch once the initial fight is done. All you can do is take a deep breath and charge back into the endless horde of faceless opponents.
Superhot emulates Hollywood fight scenes by letting you make your own
Familiarity breeds disappointment and delight in Dark Souls III
At nearly 20 hours worth of quests to undertake and wildlands to explore, that same tedium threatens to kick in, but there’s enough pathos in its stories and weirdness in its sights—one of the first things I did was talk my way into the bed of an old-world Hollywood starlet who’d shoved her brain into a robot body that looked like a trashcan on tank treads—to easily sustain that runtime.
From its commendably inclusive roster to its varied, dramatic action, it's brimming with an welcoming liveliness that's all too rare in games, multiplayer or otherwise.
With Inside, Limbo’s creators deliver a disturbing triumph of restraint
For better and worse, they just don't make them like ReCore anymore
Mafia III's biggest problem, then, is that the stuff you actually do as Lincoln is mind-numbingly repetitive. He and his associates have put together a rigid strategy for taking down their enemies. You drive from point to point killing mooks and destroying property, then go back to a place you've already been to kill a more powerful mook, and when you do that enough, you're rewarded with a mission to kill an even more powerful mook in a unique environment, like a dilapidated racist theme park. These set pieces are a merciful break in the monotony, but they're rare and all devolve into the same run-and-gun festivities.
The Last Guardian demands patience, but even it seems tired of waiting