Hellblade is an amazing-looking game with striking views and lifelike character models. Senua's guarded movements are consistent with a girl sensing danger at every turn. The atmosphere is properly foreboding with swirling clouds, decrepit ruins, and creepy Blair Witch-style totems. The natural scenery looks spectacular, particularly the rain and water effects.
The British voices speaking in her head are intriguing at first, offering hints like "push it" or warnings like "she's going to die". In time however the cryptic dialog starts to feel downright pretentious. "Exile makes sense when you realize you were never really home in the first place". Okay, that's enough.
Hellblade's gameplay is a combination of puzzles and combat, neither of which are particularly fun. That said, the puzzles are clever, often requiring you to locate shapes in the environment or form a new shape by looking from a certain vantage point. Sometimes peering through magical arches will make a bridge appear or something like that. I guess it's cool but doesn't make much sense.
When suddenly thrust into a combat situation it comes as a shock, especially since no controls have been explained. Fear not, as they're all listed on the pause menu. You'll find yourself going up against big scary barbarians wearing animal skulls. You'll need to parry and slice them repeatedly before they finally go down, and what happens next? Three more appear. Rinse and repeat.
Hellblade: Sinua's Sacrifice will intrigue thoughtful, puzzle-minded gamers who can get caught up in a nebulous story. I guess I'm too much of a blunt instrument to truly appreciate something this abstract and artistic. I imagine if you stick with it long enough the game eventually begins to make sense, but I can only tolerate so many tedious puzzles and repetitive battles. © Copyright 2021 The Video Game Critic.
The stages include Altantis, the Batcave, and a rundown Gotham City, but these are lacking in interesting details. I prefer the dark, creepy locations that exude atmosphere like Arkham Asylum, the swamp, and the haunted amusement park. The tutorial walks you through all aspects of the game and I love the option to skip a lesson if you get stuck. Expect combat that's big in juggling and combos. The environmental interaction moves are entertaining but I rarely know when I'm in position to trigger one. The "super moves" are so over the top it's comical. Flash actually transports his foe back in time to bash him against a dinosaur! Now that's just disrespectful!
The story mode begins with an alarming scene of Supergirl escaping Krypton with terrifying Terminator-style robots in pursuit. It's broken into chapters by character, giving you the chance to get familiar with each. Apparently Harley Quinn is now good and Superman is bad. Go figure! The subject matter is surprisingly adult in nature; I'm actually surprised this landed a teen rating. There is actual profanity and during one scene Robin slashes a guy's throat! In another Green Lantern tells Dr. Fate he needs to get laid! This isn't the Superfriends cartoon I grew up with!
Besides the story mode there's a weird "multiverse" mode which is basically a mission mode. You'll earn points, credits, and crystals, but to what end? Apparently the answer is character customization. Billionaire pants? Divine belts? Lunatic tights? I'll pass, but I guess in this Fortnite era people dig that stuff. Call me old fashioned, but I would have preferred an arcade mode to gauge my progression. Injustice 2 is one heck of a fighter but its emphasis on customization just didn't appeal to me. © Copyright 2020 The Video Game Critic.
Evolution attempts to hold your hand at first by severely limiting your options. The problem is, if you get stuck it's all the more frustrating because you can't do something as simple as selecting a building or perusing a menu. When a game pisses me off within the first five minutes, I don't forgive and forget.
Once you gain a little traction you'll be sending out excavating teams around the world to dig for fossils. Using these findings you can perform various research and incubate dinosaurs. Dinosaurs are born as adults, and it's fun to watch them released into their enclosures for the first time. They look so lifelike and it's interesting to see how they interact with their surroundings.
Jeff Goldblum is the highlight of the entire game, lending his voice as Ian Malcolm, throwing out occasional words of wisdom. In terms of graphics, I love the manner in which the buildings are constructed in a time-lapse manner, with layers of scaffolding rapidly going up before being torn down a few seconds later.
It's very easy to deplete all your cash in this game. I don't even know how much money I have at a given time. Maybe it's buried in that spreadsheet screen? While trying to carry out basic objectives I'd suddenly find myself stuck because "unlock conditions not met" or "need to research". Are you telling me I need to research how to sell apparel at the freaking gift shop? In the words of Dr. Ian Malcolm "that is one big pile of sh*t".
One time I created a new power station and couldn't figure out why it wasn't functional. A few minutes later I discovered it because I forgot to pave a sidewalk to its front door. Apparently no one can enter a building unless it has a walkway. Another time I created a fast food restaurant which had no power despite being literally surrounded by power stations and criss-crossing power-lines. WTF?!
It's never a good sign when you need to rely on YouTube videos to make progress in a game. Jurassic World Evolution makes it easy to do hard stuff and hard to do easy stuff. I'm sure there are persistent gamers out there who managed to create a thriving park from this game. But they were so preoccupied with whether or not they could, they didn't stop to think if they should. © Copyright 2022 The Video Game Critic.
The gameplay itself might just give you an industrial-sized headache. The shootouts are okay but the AI is suspect. Sometimes it looks like enemies are lining up to make it easier for you to mow them down. The puzzle aspects of the game absolutely stink, and the stages that take place in outer space are the worst offenders. The only thing worse than first-person platform jumping is... check that, there is nothing worse!
The control scheme is counter-intuitive, and since there are no instructions, you'll have to learn the hard way. I hate how it's not obvious whether you're in a crouch position. One nifty feature is the ability to control a flying drone you can direct to attack enemies, hack computers, create ziplines, and even revive you. Unfortunately changing its "modes" via the touch pad feels both clumsy and contrived. I like the crisp sound of the audio logs emanating through your controller's speaker, but why are the rest of the voices in this game so faint and muffled?
Pressing up on the digital pad highlights your destination, but the light orange marker is hard to see and goes away after a few seconds. The developers apparently thought that since the game was in HD it was okay to use a tiny 3-point font, but I can't read that! Killzone has a few thrills (like hanging off an aircraft as it flies over the city) but most of the time I felt like I was slogging through morass. Advanced enemies have shields surrounding their entire bodies, and you'll need to deal with annoying swarming spider droids. The stages are long and there's no indication of your progress being saved. The boring melodrama between missions is apparently meant to mask the load times. I can only recommend Killzone: Shadow Fall to die-hard fans of the series, and even they might want to think twice. © Copyright 2013 The Video Game Critic.
The artistic stages incorporate the Shanghai skyline at night, an aquarium, truckstop, stadium, cathedral, and rainy temple. Sadly, the scenery appears boring and flat, lacking the subtle details and clever animations that add personality. In the tradition of the King of Fighters each bout is a 3-on-3 matchup. The fighting action is solid but unspectacular, and for best results you'll want a joystick controller. The tutorial walks you through all the elements of the game, but by the time it reaches advanced techniques like "climax super SP moves" it starts to wear thin. Maybe it's time for the series to knock the complexity down a notch. Whenever I pick up this game I feel like I need a damn refresher course, and naturally there's no manual.
KOF14 has full support for online play but thankfully it still caters to the offline experience with single-player modes like story, trial, versus, time attack, and survival. It saves all your best times and scores locally along with statistics on character usage. What's missing is a proper arcade mode - a quick challenge without a major time investment. The story mode can serve this purpose, but only if you crank up the CPU difficulty because the default skill level is ridiculously easy.
A second problem is how the game overscans my plasma TV screen, making it hard to read character names that are cut off. There are actually display options for adjusting various HUD elements but none that could fix my problem. In general the icons and text are awfully tiny, making it hard to read the command lists. The load times are reasonable but couldn't they keep up the "character versus" art up while loading instead of having the screen go black? King of Fighters XIV is a full-featured fighter with a rich heritage but this latest edition is hard to get excited about. © Copyright 2016 The Video Game Critic.
Offline gamers are limited to versus, story, and mission modes. Whatever happened to a good old-fashioned arcade mode? The story mode keeps score but doesn't save it. Heck, you can't even view your local profile unless you go online. But of course the game provides easy access to the Playstation store.
It's a shame because the core fighting engine is pretty awesome, with ample variety, crisp controls, and bone-crunching hits. From the moment I started playing I was impressed how effortlessly you could pull off specials. I was thinking I'd need a joystick but that sweet PS4 digital pad is perfect for thumb-rolling maneuvers. I did notice more "hocus pocus" moves than usual, straying from the spirit of the original King of Fighter games.
I like the visual style of the characters, who look semi-realistic but highly stylized. Of the newcomers, Shui El is a Japanese street punk and Isla is a lady who fights with magic floating hands. Kukri has a creepy grim reaper thing happening, and the tall, shapely Luong may be the hottest chick I've ever seen in a video game. Unfortunately, former beauty queen Mai Shiranui might be mistaken for pregnant.
The stages lack vitality. The rainy town and the Chinese garden are picturesque, but the rock concert venue and colosseum feel played out. The tiki bar and beach resort areas lack personality and amusing details. I do like how some of the music incorporates vocals.
The story mode is a complete bust thanks to a combination of low difficulty and unwatchable cut-scenes. The ultimate boss is a "demi-god" who's surprisingly susceptible to repeated kicks to the shin. The multiple endings are a weird hodgepodge of disjointed fan service. From the time you beat the final boss and the end of the credits feels like an eternity.
King of Fighters XV is fine for playing head-to-head against a friend or online. If that's not your thing you're in for some slim pickings. Maybe it's finally time for SNK to drop the pretense and just make the next King of Fighters an online service. King of Fighters Infinity or whatever. © Copyright 2022 The Video Game Critic.
The main character is a bunch of artifacts magically held together to form a robot-like being. Unlike most platform heroes, Knack isn't particularly cute. In fact, he's kind of ugly! Still, it's fun to make him smack-down robots, causing them to short-circuit and explode. The basic gameplay boils down to platform jumping and combat. You'll also want to dodge traps and keep an eye out for hidden goodies.
Whenever you confront a new set of foes, it's best to strike quickly, as you can usually take several out before they even have a chance to react. It's satisfying to knock armor off enemies as you wear them down. Collecting yellow crystals fills a meter that lets you execute special moves, and I love the "clink" sounds that play through your controller's speaker as you pick up the crystals.
The special moves are a blast. One lets you shake the ground, another unleashes missiles, and a third transforms you into a little tornado. Knack packs a wallop, and his finishing punches are slowed down for dramatic effect. As he accumulates more artifacts, Knack grows in size, allowing you to inflict even more carnage.
This style of game doesn't call for spectacular graphics, so don't expect any. The story and dialogue are nothing to write home about either. Even so, Knack was easily my favorite launch PS4 title of both myself and my friends. Not because it's innovative or technically advanced, but because it's consistently entertaining and just plain fun. That still matters to some people! © Copyright 2013 The Video Game Critic.
The game offers a behind-the-ship perspective as you navigate a disorienting universe of random geometric shapes. If the designers were going for a style similar to Rez (Dreamcast, 2001) they missed the mark. Dual-stick controls let you maneuver and strafe, with the triggers unleashing rapid-fire shots. You begin by flying through a maze of black and white boxes. What the hell is going on?
Apparently each level is some kind of space obstacle course with orbs to collect. The clean lines and vivid colors look sharp but the monochromatic graphics make enemies blend in. I didn't even realize I was taking damage until I was told my shield was gone. You can fire away to your heart's content but the visuals are so abstract you can't tell if you're hitting anything. Arrows surrounding your ship point you to your next "objective", but they're hard to discern when you're flying directly into the screen.
Even when headed in the right direction it's never clear what the [expletive] you're supposed to do. This game makes no sense. Occasionally I'll see a "code accepted" message when all I'm doing is firing like a madman. Kromaia makes you feel like you're stuck in a never-ending tutorial, waiting for the real game that never arrives. © Copyright 2017 The Video Game Critic.
The game takes about an hour to play. Its story revolves around a young Mick Jagger-looking parking attendant who inadvertently gets roped into an elaborate heist scheme. Most of the story takes place in London at night and I love its after-hours vibe. The plot is a tangled web between a pack of criminals, an Asian crime syndicate, and a mysterious art collector. The action is pretty intense but the fact that everybody is fighting over what looks like a cheap little bowl is a kind of hard to swallow.
User interaction is practically seamless as every few minutes or so you're prompted to make a decision with just a few seconds to respond. It's not always clear if your choices are having an impact. You might select "run away" only to have the bad guy chase you down anyway. After playing a few times I noticed certain pivotal scenes always occur, so while there are different ways to get from point A to B, you always end up in the same place.
Towards the end however your decisions might lead to an abrupt ending. The fact that I played through this four times in one week is a testament to its quality. Each time a bit more of the story was revealed. The bad news is, I only discovered two of seven possible endings and neither was particularly satisfying. As a movie Late Shift can hang with the best of them but its trial-and-error gameplay left me a little cold. © Copyright 2020 The Video Game Critic.
Each stage allows you to toggle between multiple characters, and sometimes it feels like there's too many cooks in the kitchen. Each character brings a different ability to the table like using a gun, climbing, fixing stuff, or performing acrobatics. In some cases these abilities make sense, but too often the who-can-do-what seems terribly arbitrary (only this kid can build this, only this guy can turn this lever, etc). Sometimes an action can only be undertaken by a character you haven't even unlocked yet (and never will). Sometimes you get to control the dinosaurs.
Bashing scenery releases tons of cogs to collect, but I'm about ten years past the point of caring about those. Parts lying around can be assembled into bridges, ladders, and giant catapults by holding the O button. The O button is used for so many things it's ridiculous: digging, building, interacting, picking up stuff, employing special abilities, and more.
The controls seem poorly thought out. Why would a raptor need an aiming reticule? As you might imagine, the confusion is magnified with two players. The unskippable cut-scenes are mildly-entertaining at best, and even the save system is suspect. If there's an autosave, what's the point of manual save points?
I encountered one spectacular glitch that literally launched my raptor into the stratosphere! I watched in surreal amazement as he floated back down to his virtual world. I would complain about that if it wasn't so awesome. Despite its glaring flaws I don't hate Lego Jurassic World. I like how it recreates the movie storylines and there's always something new to do and see. Little kids will probably spend countless hours collecting all the cogs and hidden items. Best of all, that snooty brunette assistant gets eaten in this game too. © Copyright 2016 The Video Game Critic.
Before the Storm is broken up into chapters with realistic dialog, believable characters, and dramatic twists. You are Chloe Price, an angsty teen who smokes joints, drinks alcohol, and swears like a sailor. The game begins with Chloe sneaking into a concert venue and getting involved in an altercation. During each scene you can navigate and interact with your environment to a limited extent. There's no way to "lose" per se but your choices can affect the story.
The time-travel mechanic of the first game has thankfully been axed in favor of mildly-amusing "talk back" challenges. The game often makes you feel like you're just along for the ride, and some of the extended scenes feel like they belong in a director's cut. Still, there's enough clever dialog and emotionally-charged moments to keep you engaged. At one point Chloe's friend Rachel inadvertently starts a massive forest fire, which is downright alarming considering it takes place in Oregon. The mellow soundtrack is superior to that of the original game, and it really pulls on the emotional heartstrings, with "Bros" being a standout track.
Unfortunately Before the Storm tends to be quite buggy, beginning with the installation process. And while the story would seem to be building up to something momentous, it wraps up in a hurry, as if the developers were told they had to ship tomorrow. Before the Storm is a fine companion piece to the first game, but it struck me as a killer soundtrack looking for a game to go with it. Note: The Collector's Edition includes all three episodes on disc, an art book, and the soundtrack CD. © Copyright 2019 The Video Game Critic.
You play the role of Max Caulfield, a female student with a passion for photography attending an Oregon art school. After reconnecting with her rebellious friend Chloe the two set out to investigate the case of a missing girl. While in class Max comes to realize she has the ability to manipulate time, letting her to undo events and bad decisions. At first she uses her power for trivial matters like undoing spills, but eventually her choices take on life or death implications.
The mechanism used to rewind time is very clumsy and confusing, and frankly doesn't make a whole lot of sense. Still, it's interesting to watch the drama unfold, partly due to the unflinching dialog delivered by some very passionate voice actors. Surroundings are rich with detail, and the ease with which you can highlight and examine items makes it fun to snoop around.
The character models boast subtle facial expressions but their hair is noticeably chunky. I expect better on the PS4. An excellent soundtrack provides earthy, bohemian tunes like you'd expect to hear in a college environment. At various times Life is Strange is slow, compelling, tedious, funny, and heartwarming. Surprise plot twists will leave you in complete shock, if not in tears.
Life Is Strange may be an artistic masterpiece but it's less successful as a game. I'm not convinced my moral decisions had much effect. I noticed the game would not allow me to rewind certain scenes, yet forced me to rewind others. The final sequence is annoying and over-the-top. Life is Strange isn't for everyone but if you're the kind of person who likes to curl up with a good novel it will deliver a thoughtful experience that will stay with you. © Copyright 2018 The Video Game Critic.
Despite its artistic merit the game is not the most pleasant experience. The puzzles are thoughtfully designed but the dark scenery and limited camera angles are disconcerting. The controls for grabbing tend to let you down at the most inopportune times. Between deaths you're subjected to torturously long load screens. WTF? Is it reloading the entire game?!
Despite the box label claim of "complete edition" I found myself hopelessly stuck (embedded in scenery) after less than five minutes of play. The game has some frightening moments but the stealth and timed sequences are more stressful than fun. I didn't want to play this for more than a few minutes at a time. Little Nightmares tries to tap into something primal but revisiting your darkest childhood fears is pretty much as fun as it sounds. Which is to say not much! © Copyright 2018 The Video Game Critic.