Of course, it's better than last year, but it still has a ways to go before it supplants The Life as the reason to get this game. [Nov. 2006, p.134]

Certainly doesn't hang with the recent crop of console wrestling games, but for portable brawling, you can't really do much better. [Jan 2005, p.149]

Despite a couple of missteps in the narrative, I enjoyed Telltale’s addition to Game of Thrones’ lore. As this episode clearly illustrates, Telltale is quick to swing its sword when it when it comes to character-defining moments.

Fracture comes close to greatness, but the story’s disappearing act, half-hearted approach to level design, and poor enemy AI holds it back from being anything other than mediocre.

It's well worth a look, but go into it knowing that it offers some problems that you thought that developers destroyed years ago. [June 2007, p.114]

More of a rebirth for the series than the sequel it's trying to be. The action is mindless and fevered, and Jackie has transformed from a vengeful protagonist into someone who probably listens to "Dream Weaver" as he cries himself to sleep. I found it to be an interesting journey. [Mar 2012, p.91]

Even with 60+ hours' worth of gameplay, some parts of Bravely Second's skeleton are still surprisingly bare.

While it’s not like you’re tearing up Forza 2-quality looking rides, the step up to the next generation makes all the flying debris and mayhem pretty alluring.

Although this game is well-rounded enough to at least give you an enjoyable experience, it fails to grab you by the stick with enough G-forces to set the seat of your pants on fire. [Dec 2003, p.148]

It's no better or worse than the "Dynasty Warrior" series, but we Koei fans have never demanded any significant changes from these games, have we? [Sept 2004, p.115]

Tales of Berseria does some interesting things, and is the most captivating Tales storyline in some time. I like the majority of its ideas, but the execution often feels half-realized. It still feels like the franchise isn't making big enough leaps, and is just content to bring its fans more of the same. By now, you probably know if you're okay with that. Nothing ever made me stop playing, but the flaws are impossible to ignore.

If you grew up with these games, they're still a joy to play. New converts t the Sonic fold will get a great introduction to the 'hog's history. [Dec 2004, p.168]

More of a rebirth for the series than the sequel it's trying to be. The action is mindless and fevered, and Jackie has transformed from a vengeful protagonist into someone who probably listens to "Dream Weaver" as he cries himself to sleep. I found it to be an interesting journey. [Mar 2012, p.91]

Bizarre clearly set out to make Blood Stone feel like a part of Bond's movie canon, and it's certainly successful on that front. The weapons are anemic, and the driving sections can be dodgy, but it delivers a dose of spectacle and intrigue worthy of the character.[Dec 2010, p.114]

I have a feeling that Lips has plenty more cards up its sleeve, but the initial release leaves much to be desired.

Untitled Goose Game is a great concept, and ends in the same charming way it started. Pranking people is fun, and doing it as a goose just adds to the thrill. Most people will play it for the silly premise, complete it in a few hours, and go on their merry way without touching it again. If you just want to mess with people as a goose, here’s your chance – but the shallowness and repetition hold it back from being a truly engaging game.

A fun little simulation title that gets naughty every once in a while. [Nov 2002, p.148]

Tales of Berseria does some interesting things, and is the most captivating Tales storyline in some time. I like the majority of its ideas, but the execution often feels half-realized. It still feels like the franchise isn't making big enough leaps, and is just content to bring its fans more of the same. By now, you probably know if you're okay with that. Nothing ever made me stop playing, but the flaws are impossible to ignore.

With Mario nowhere to be found at the Nintendo 3DS launch, Rayman fills the platformer gap nicely. I had a blast playing it again, and look forward to reviewing it for a fifth time at some point in the near future.

FacebookPost TwitterTweet EmailEmail CommentComment Frogwares has made a name for itself with wannabe detectives through a run of imperfect-but-entertaining Sherlock Holmes adventure games built around deductive reasoning. However, the developer’s interest in this unique brand of puzzle-solving extends beyond the world-famous consulting detective. The Sinking City is Frogwares’ latest and most ambitious adventure game to date, setting players loose in a Lovecraftian open world with a journal full of twisted cases. The expanded scope and greater emphasis on action introduce issues, but as a whole, The Sinking City still presents a mystery worth unraveling. Players take on the role of Charles Reed, a private detective whose horrific visions have brought him to Oakmont, the titular sinking city ravaged by a mysterious flood and the supernatural terrors it has unleashed on the beleaguered population. As you undertake cases for various influential families and factions, Reed is quickly ensnared in Oakmont’s politics and power struggles. Like everything in Oakmont, no case is ordinary or straightforward, such as helping the rich and strangely simian Robert Throgmorten track down his missing son, or investigating a faction of fish-like Innsmouthers whose generous food donations to starving citizens may hide an ulterior motive. Once again, Frogwares exhibits a deep understanding and appreciation for the source material, touching on many of the tenets of Lovecraftian horror while weaving its own unique tale. You gather clues from various locations and crime scenes, and then piece them together through deductive reasoning to solve each mystery, much like the Sherlock Holmes games. You may find yourself with only a name or a scrap of a letter to go on, and it’s up to you to figure out how to proceed. Perhaps searching through patient records at the hospital will give you another lead, or cross-referencing dates and locations in the local paper might turn up another witness. These player-driven puzzles and deductions are the heart of The Sinking City, and are just as entertaining and rewarding without the deerstalker and calabash pipe. This time around, some of the deductions are also subjective, requiring you to make a call and live with the consequences. Is that character a cold-blooded murderer, or was he possessed by some cosmic horror (a real possibility in Oakmont) and not responsible for his actions? Should you turn him over to the authorities, or let him go free? The consequences of your decisions aren’t particularly far-reaching from a narrative perspective, but they are often memorable, and your inability to get through every case without getting your hands dirty fits with the grim world and themes. While Reed himself remains a bland and forgettable cypher, the evolving mystery behind Oakmont’s curse and its eventual fate kept me engrossed for the long run. While that world-building and atmosphere is where The Sinking City really shines, traveling around said world isn’t as fun. Getting from one area of the city to the next is a time-consuming process, often requiring hopping between roads and boats to get where you’re going. And you always have a lot of places to go; in addition to the aforementioned hospital and newspaper headquarters, you’ll be visiting the police station, city hall, and library to drum up more leads, and it’s not always clear which location you need to visit. Fast travel helps with this process, but it isn’t particularly fast, requiring you to first find and run to a phone booth, then wait through a lengthy load time. As you’re traveling to various locations, eldritch monsters occasionally spring up, leading to survival-horror combat. Simply put, the stiff and sluggish gunplay is not fun, and frustrates more than it excites. However, the grotesque enemy creatures introduce an ever-present threat and tension that heighten the Lovecraftian world you’re exploring. Ultimately, The Sinking City’s combat is a necessary evil that I’m glad Frogwares included, even if its implementation leaves a lot to be desired. The Sinking City also suffers numerous technical problems. In addition to the long load times, screen-tearing is a persistent distraction from exploring Oakmont’s creepy locales on console (Frogwares says it’s working on a patch to correct this), and uneven voice performances and cutscenes also take their tolls on the immersion. The main quest is a little too long for its own good, but those who can overlook the game’s shortcomings will find a wealth of solid side quests to keep them hanging around. The Sinking City shares all of the same problems of Frogwares’ previous games, but it also capitalizes on the same strengths. Reed’s cases offer up surprising twists and memorable moments, and flesh out a twisted world and cast of characters that I enjoyed learning about. The combat and repetition may elicit the wrong kind of madness, but fans of Lovecraftian horror should still consider visiting The Sinking City.

The opening scene of Rhythm Thief professes, "Imagination rules the world," and what it delivers follows suit. For its minor slip-ups, the game still innovates in the rhythm genre by offering a real story. If anything, the final product proves that extra creativity can make a difference, but it needs to be spread through all aspects of a game to make it a top contender.

Goes above and beyond the norm of platform games, and comes out shining like the edge of a sharpened blade. [Jan 2004, p.134]

While the PlayStation 3 and Xbox 360 versions include online play and improved graphics, I surprisingly had a lot more fun on the Wii.

The only big frustration is the eight directional shooting, which never seems to nail your target the way you'd like. [Nov. 2006, p.144]

Etrian Odyssey V feels close to what the series has done before, but the new classes and skills keep things from getting too dull. For those who enjoy retro RPGs, love building characters, and don't mind grinding for victory, that’s certainly all here. Still, the tedium and slow-paced nature of the game leave a lot to be desired, and the feeling of déjà vu left me wanting more.

Boasting fantastic locales from Cairo to the Himalayas and strange experimental fighters never seen in the history books, the titular secret missions in question are pretty unbelievable. The exaggerated weapons and battles are actually the most exciting and engrossing aspect of the title; much of Blazing Angels 2 veers heavily into frustration and obfuscation.

If you're excited about the movie or characters, for once this is an easy game to recommend. There's nothing here that should scare away fans, and any player ought to appreciate the way each game level feels unique from the last. After this game and last year's War For Cybertron, High Moon has proven they've got the chops to handle and understand the Transformers, no matter what continuity they're playing around in. Here's hoping that Hasbro and Activitision recognizes the talent, and continues to give the team the creative freedom they deserve.

If you're excited about the movie or characters, for once this is an easy game to recommend. There's nothing here that should scare away fans, and any player ought to appreciate the way each game level feels unique from the last. After this game and last year's War For Cybertron, High Moon has proven they've got the chops to handle and understand the Transformers, no matter what continuity they're playing around in. Here's hoping that Hasbro and Activitision recognizes the talent, and continues to give the team the creative freedom they deserve.