The film lets Marty and Doc honestly and truly understand each other for the first time in the series.
Even the zombie material, which is still painfully boring and overdone conceptually, manages a few surprises.
The part of the game that matters is an impressive romp for anyone whose inner adolescent is looking for a cheap, satisfying, bloody thrill.
This isn’t just a nostalgic copy of the games of the medium’s youth, but also a fever dream of what the 8-bit era was capable of.
The big change in GH Live is that the classic colorful five-fret layout has been replace by a two-by-three block of buttons, meant to function like switching chords.
A cynic would be justified in thinking this edition still has its work cut out for it trying to bring back DmC fans who held the reboot in contempt.
The game is our best example that we can play a movie. The fact that the movie in question is a leaden, unimaginative waste is almost incidental.
All the energy that should’ve gone into giving players a good reason to want to survive in Harran went toward an uninvolving multiplayer.
A love letter to where it came from and an advancement of its best ideas into something bigger, more cohesive, and infinitely more fun.
There’s only two questions that matter: “Do you love Nintendo?” and “Do you enjoy hitting things ’til they go flying off into the stratosphere?”
There’s a good game buried here, and when they finally plant the headstone, the cause of death will be chiseled as “trying too hard.”
There’s no avatar here; it’s your hands causing the violence now, your eyes staring directly at victims, and you facing down being shot dead, run over, blown up, or falling from insane heights.
The glue holding it all together as more than just a stale repurpose of the previous games is the story.
That it only receives the slightest of graphical upticks is less a sign of laziness in porting the game to next gen so much as a testament to how well-crafted Sleeping Dogs was to begin with.
Gamers appear to be ready for developer ambition when it comes to not just the quality of the games, but how to play them.
Freak Show is an excuse for American Horror Story to literally let its freak flag fly higher and prouder than ever before.
The initial joy that comes from mashing buttons and watching Link and his cohorts slash down mindless scores of imps, goblins, lizardmen, wizards, and dragons gives way to a steadily increasingly pile of nitpicks when repeated over several hours.
Playing around in Bungie’s galaxy for its own sake is still just so undeniable and compulsive a draw that the disappointingly threadbare “why” starts fading into the background.
This is the truer definition of a mature title. This is what happens when first-person shooters strive to be more than a vulgar display of power.
The fundamentals of Second Son are present, obviously restricted to Fetch’s flashy Neon abilities, which is fine since Neon was the most free-flowing and fun of Delsin’s stolen powers to begin with.