It’s still a sad fact of the video game industry that most games based on pre-existing licenses are terrible. For every Batman: Arkham Asylum or South Park: The Stick Of Truth, you get a Robocop or a Rambo. That’s because, usually, developers of these licensed games are not given enough time or money to actually make a quality video game. So what happens when you give a pre-existing license to Platinum Games, a developer that’s notorious for making good games even with a short deadline and a low budget? Well…
There are only two tailing missions in the new Assassin’s Creed.
Call of Duty: Ghosts was a boring, by-the-numbers game with a rote story and stifling multiplayer. It showed the fraying edges of a vast empire and a team seemingly fed up with making iteration after iteration of Call of Duty; but each year a new release must come. Sometimes those games are marginally fun or have interesting ideas with a stale framework, like Black Ops II. That story had multiple branching paths and the setting took us to the (near) future for the first time in the series history. But Black Ops II still didn’t manage to capture a better framework to challenge the concepts of the stagnating franchise. It was time for a new idea, something to liven up the series and introduce mechanics that change the basic Call of Duty formula, while keeping the structure intact. Sledgehammer Games, a new development studio for the franchise, has found that idea with Call of Duty: Advanced Warfare.
All of the pieces are there to make Destiny a great game. The world is gorgeous, with some of the best art and design in a game to date. The combat is fun and fluid with weighty weapons and clever abilities. The music is beautiful and the sound design screams perfection. Yet Bungie doesn’t do enough to tie together all of Destiny’s fragments, leaving behind a hollow husk of what might have been.
“There are plenty of targets worthy of a bullet; men who need to die. Time for find more work.”
The final lines of Rebellion’s newest release resemble an apt view of the game as a whole. It is a power fantasy of the highest order; a hyper violent, marginally fun trek through orange and brown landscapes of Africa, looking for Nazis to kill. There are plenty of targets for you to shoot; plenty of men who die by your hand. But, Sniper Elite 3 is a one-note gimmick that will leave you longing for different work.
War never changes, especially in video games. Countless number of games set you in the heat of battle, gunning down hundreds of enemies with reckless abandon. We never understand the pathos of those stories; we never hear of their struggles; all we ever see are moments plucked from action movies. Valiant Hearts: The Great War tells a touching story of a handful of soldiers in the midst of World War I — it’s just a shame this story needs to be a video game too.
Here is a simple fact about hacking: it’s not fun to watch. Movies and video games world over would like to convince you that this isn’t true, but the tedium prevails. Any writer on earth can make a character type something furiously into a keyboard and have something unexpected happen on the other end — but that’s not really the allure of hacking, is it?
Metal Gear Solid V: Ground Zeroes is the video game equivalent of buying a next-generation console the night it releases. It’s fun to be there on day one, to see the sights and poke at the systems. It’s less fun when you realize how thin everything is, and how many months you’ll have to wait for even a hint of substance.
Looking Glass’ original Thief games helped to define a generation of stealth titles. After an extended absence, Garrett returns in a new iteration from Eidos Montreal. Thief’s primary gameplay motives should be pretty clear from the title alone, but it suffers from a severe lack of focus. Instead of centering on the tools of Garrett’s trade, Thief tries too hard to be something it’s not, which ultimately breaks the one thing it does well.