The voice actors are all great and seem to be having a good time. After suffering through Zestiria's passionless cast these colorful characters are a breath of fresh air! ToB is a rip-roaring emotional roller coaster that runs 40-50 hours and I loved every minute of it! The story isn't the only thing that's improved however. The combat is more action focused, with Velvet stringing together combos like Bayonetta-lite! You can even design your own combos to determine which move each consecutive button press will unleash. It's not button mashing; it's personalized button mashing! And in an almost Dark Souls-like move, the extent of your combo is determined by a stamina meter. By stunning enemies you can extend your stamina meter, allowing combos to run even longer.
Experimentation will help you determine attacks enemies are vulnerable to, but be advised they'll do the same to you. Mechanically speaking ToB is the best Tales Of game I've ever played, but it's still a Tales Of game with the same Tales Of problems. The areas between cities and dungeons look better than previous games, but they're still just overly long hallways designed to pad out the game's run time. And as great as the story is, there are times when it goes overboard, subjecting you to cutscenes running upwards of fifteen minutes! I'm not sure what to make of all the subtitle typos, but they are everywhere and some are just plain weird ("I'm sure you can squeeze some privates!"). Still, there's plenty to love In Berseria, especially for gamers who like to lose themselves in a good story. © Copyright 2020 The Video Game Critic.
Sorey comes off as the world's biggest goody-two-shoes and the supporting cast is equally bland. Cutscenes drag because no one has anything interesting to say, and even the voice actors sound disinterested. I made an effort to enjoy this, but it's just… so… boring! Little else has changed from previous games, with real-time combat that uses O for physical attacks and X for magic. You can map various thumbstick and button combinations but enemies tend to be pushovers so button mashing will suffice. The camera remains behind you during battle, making it hard to judge the distance between you and enemies.
The back of the box boasts of an open world adventure, but that's a bit of a misnomer. The over-world has indeed been opened up considerably but there's nothing to do but run between cities. I consider myself a fan of the Tales series but it's hard to ignore the shortcomings of Zestiria, especially without a strong storyline to hold the experience together. © Copyright 2018 The Video Game Critic.
New entries include a hulking robot named Gigas who can catch an opponent in mid-air and throw him around like a rag doll! I was also surprised to see Akuma of Street Fighter fame. The remaining fighters seem to exist to meet some kind of diversity quota. The character models are sharp but robotic compared to the Street Fighter series.
The realistic stages include some really dull locations like an endless sandbar, a volcano, and a mountain top. I did enjoy the helipad stage which overlooks a city skyline at night, and the stage featuring a platform surrounded by robotic arms is also impressive. The fights are action-packed thanks to crisp controls, imaginative attacks, and flashy effects. One new wrinkle is the "rage art" ability, but since there are no instructions figuring out how that works is an exercise left to the reader.
The modes and player statistics are divided into online and offline categories. I like the concept but the offline selection didn't excite me. The story mode is so long-winded I could not stand it! The arcade mode employs some kind of "kyu progression" system I didn't understand. What ever happened to keeping score? Oh sure you win gold coins to unlock bunny ears and sunglasses but who the hell cares?! Tekken 7 is technically sound but it fails to offer the player compelling reasons to play. © Copyright 2017 The Video Game Critic.
Its sequel Tempest 2000 (Jaguar, 1994) served as the flagship title of the Atari Jaguar console. The game took the classic gameplay to new heights with psychedelic backdrops, power-ups, more stages, and catchy techno music. Tempest 4000 is surprisingly similar - even reusing the same soundtrack! Maybe that's not a bad thing. The rumbling intro really gets your blood pumping and the shooting mayhem is pure arcade fun. Using the thumbstick to navigate the perimeter feels inexact but is probably better than digital control. Holding down X engages rapid-fire but your shots feel intermittent until you upgrade your firepower. Obtain the "AI droid" and you'll get a robot who shoots by your side, doubling the destruction.
Tempest 4000 does add a few new twists. Enemies are now seen approaching from the distance even before they reach firing range. There are more shapes to shoot, and they tend to burst into crazy pyrotechnics. When you die the stage doesn't reset, but instead drops you back into the current level with enemies now teeming along the edge. It's a little unfair, especially if you don't have the "jump" power-up. Between stages you travel through a space tunnel while trying to remain centered for bonus points, but it's nothing special.
Tempest 4000 offers three modes of play, but you'll have to figure out the difference between them on your own because there's no [expletive] manual. The "classic mode" has so much flashing colors and distorted visuals it's sensory overload. Random messages like "PLEASURE" and "YES YES YES" make you feel like you're indulging in some sort of perverted fantasy. The game records high scores locally, and I love having the current high displayed at the top of the screen. For a longtime fan like myself Tempest 4000 is slightly underwhelming, but if you haven't experienced Tempest before you're in for quite a trip. © Copyright 2018 The Video Game Critic.
Tennis World Tour begins with a time-consuming tutorial walking you through the basics like serving and aiming your shots. But what's the deal with these graphics? I was hoping the vaguely cartoonish players were just part of the tutorial, but no, the actual game looks this bad! Players in a PS4 game licensed by the pros should look photorealistic, not look like characters from a mobile phone game.
The gameplay tries to mimic Virtua Tennis (Dreamcast, 2000) by letting you hold down the swing button to "charge" your shot. You can also sprint via R1. I tried to remain cautiously optimistic heading into my first exhibition match. Taking the defaults, the game set up Wawrinka vs. Wawrinka - in the same outfit no less! Every volly felt stilted and I couldn't get into any kind of rhythm. And despite playing in a large arena with fans there was no atmosphere at all.
Then I tried the career mode and the wheels came off completely. When your opponent faults your player doesn't even react, as if the controller had disconnected. Sometimes my player would lunge in the wrong direction, and other times he'd give up on a shot and not even bother to swing! Whenever I approached the net my player seemed to have no idea what was going on and refused to swing. And when your computer opponents allow perfectly returnable shots to pass, it doesn't make for a very satisfying victory.
The commentator does his best John McEnroe impersonation but his commentary is weak, repeating the same lines ("Now's definitely not the time for a double fault") and making bizarre statements ("What power! Talk about ball abuse!") And why is the umpire yelling "out!" for winning shots that are in? Lacking the fun of an arcade title and the realism of a simulation, Tennis World Tour falls squarely into no-man's land. © Copyright 2020 The Video Game Critic.
You play a man named John who has spent his entire life in the seclusion of an underground government facility after a nuclear attack on the UK. The game begins by establishing his daily routine, and it's almost unbearable as you methodically point-and-click to repeatedly take vitamins, eat beans, and check the computer. When the facility springs a radiation leak John is forced to take action.
The deserted facility has a haunting quality with its colored lights and claustrophobic spaces. The sense of isolation is unsettling and the music is heart-pounding. As John urgently attempts to make the necessary repairs you'll see flashbacks of his childhood which explain what happened to the other personnel who worked down there.
As a movie the Bunker is fairly compelling. A brooding tension pervades a story that will keep you guessing until the end. As a game The Bunker is less successful. I felt as if I was being strung along while moving my marker around the screen looking for things to click on. On rare occasions a quick-time event demands a quick response, but these don't seem to impact the story much.
During the exciting climax the load screens and gaming elements tend to get in the way. Clocking in at over two hours, the game is long and exhausting. It was interesting to play through once but I will not be returning to The Bunker anytime soon. © Copyright 2020 The Video Game Critic.
The game doesn't tell you how to play, but that's okay because Golf Club is intuitive. Swinging with the right stick feels natural enough and unlike other analog swing implementations, there's no meter. You'll need to experiment to figure out how to adjust your power, and during approach shots it's really easy to overshoot the green. You need to do a lot of math in this game and applying backspin is kind of a mystery.
The camera angles that follow the ball are exciting and offer breath-taking views of your surroundings. The action moves along at a steady pace so you can play a whole round in about a half hour. The player and courses are fictional, but a course editor lets you generate and edit random courses, so in theory you have an infinite selection. I loved its streamlined design but there are times when The Golf Club feels like amateur hour.
The one-man commentator sounds less like a sportscaster and more like a drinking buddy. His remarks are so annoying and shallow that I shut him off. Another irritation is having to wait for the camera to swing around before I can line up my next shot. I enjoy the Friday Night Lights-style soundtrack but some of the natural sounds could use some work. Is that static emanating from my back speakers supposed to be a brook? PGA fans will probably opt for Rory McIlroy, but if you don't take your golf too seriously The Golf Club should suit you just fine. © Copyright 2015 The Video Game Critic.
In terms of production values The Golf Club 2019 spared every expense. There are no real golfers or courses. So what's the [expletive] point of having a PGA license? I can appreciate the natural beauty of the lush, wooded courses, but the generic golfers look like holdovers from a PS3 title. The controls employ the "analog stick" swing which has to be the most braindead mechanism ever devised. I can hit the ball 100% straight every time, but power is another story. There's no way to gauge how far the ball is going to go!
Want to fine-tune your swing? Good luck with that. The icons are counter-intuitive and one is half-way off the right edge of the screen! There's no guarantee you'll get a decent view of your shot, and in one case my entire shot was obstructed by a single bush.
And then there's the audio quality - or lack of it! The lone announcer "Jon" lends sparse commentary like "this is hole four", "good shoot", and "nice!" Couldn't they hire somebody who could at least pretend to be vaguely familiar with the sport?
I found it hard to stomach an entire round on my own, so I tried two players with my buddy Eric. Not only did it take forever to set up a two-player game, but the action was downright embarrassing. If you grew up with golf games that were actually fun, trying to play garbage like The Golf Club 19 can be quite the sobering experience. © Copyright 2019 The Video Game Critic.
You play as a grizzled 1920's detective who's come to the city of Oakmont to uncover the source of his strange, prophetic nightmares. Upon arriving you discover the town half-submerged with weird monsters and a populace that is going insane. The story is original yet incorporates elements from the works of classic horror author HP Lovecraft. Fans will recognize plenty of colorful characters as well as a treasure-trove of subtle references.
Oakmont's wet, soggy environment perfectly embodies how a Lovecraftian setting should look! Barnacles grow up the sides of buildings, ragged curtains billow in chilly winds, and everything is damp. The city's sprawl becomes an annoyance however as there isn't much to do and monsters only spawn in certain locations. Load times are unacceptably long, making even fast-travel feel like a chore. A motorboat transports you through the flooded parts of the city, but I feel as if they could have done more with it.
Detective work is one area where the game shines, but like everything else it becomes routine over time. You'll explore a building for clues, interrogate suspects, and use psychic powers to deduce what happened. The game will often present several events to piece together, but they're usually presented in chronological order anyway. I like how you have to deduce crime locations on a map instead of being led around by the nose. It makes you feel like a real detective!
The story is enjoyable but as a survival horror game Sinking City comes off flat. The slimy, grotesque monsters appear so often they lose their scare factor. Combat has a weird, slippery feel, causing your crosshair to slide right past where you're trying to shoot. As for determining if your melee attack hit, you might as well flip a coin. Choices made during the course of the game affect how the story plays out, but ultimately you always choose between the same three endings.
The Sinking City could have been great if the developers had tightened things up and been a little less ambitious with the scope. Half the content feels unnecessary and some of the game's most promising features feel janky and unfinished. That said, HP Lovecraft fans will likely still find a lot to love. © Copyright 2021 The Video Game Critic.
I can't get over how good this game looks and feels. The animation is fluid, the controls tight, and the graphic quality outstanding. The first-person shooting feels instantly comfortable as you target enemy soldiers, flying drones, and dinosaur-like wildlife. I love how helmets pop off when you shoot enemies in the head. Weapon loadouts have multiple capabilities, and while they seem complicated at first, it's fun to experiment with them. I got a kick out of the gravity grenades which pull enemies together so you can shoot them all in one place.
Pressing the touchpad button brings up your current objective marker, but I found the thin line indicator hard to follow. What shocked me about this game was the amount of platform jumping. Titanfall 2 not only makes heavy use of wall-running and double-jumps, but expects you to string them together in combinations that will leave you breathless.
Of course the true hallmark of the Titanfall franchise are its "titan" mechs. I like how your titan will grab you and stick you into his chest. The mech battles offer a brute force style of combat including lock-on missiles and a shield that absorbs projectiles and repels them back at adversaries. You'll spend most of the game running on foot but the titans play a major role in boss encounters.
The missions are ingeniously designed. In one stage you trek through a topsy-turvy factory stage that reminded me of a scene from Star Wars: Attack of the Clones. In another you toggle time at the press of the button, switching from past to present to locate new paths and remove enemies. It's mind-blowing.
As I played through the game my opinion progressed from "not bad" to "this is great" and finally "I think I love this." I was close to giving it a solid A until the game crashed not once, but multiple times. I didn't try the multiplayer but have friends who have vouched for it. The bugs are unfortunate because Titanfall 2 is a head-popping, robot-wrecking good time. © Copyright 2016 The Video Game Critic.
The menu and setup screens offer a lot of fun music and colorful anime graphics. But as you would expect of any game with the word "ballet" in the title, it sucks. An endless tutorial explains the gauges, indicators, and attack modes in methodical detail. After paging through 500 text bubbles you'll just say to hell with it and quit out. There are so many subtle elements, like reconstituting your charge attack by "grazing" (brushing up close to enemy projectiles). Initiating a spell positions your opponent at the bottom of the screen and lets you pommel him with waves of bullets.
Despite its anime style Bullet Ballet isn't much to look at. There are two fighters who are tiny and surrounded by a pair of concentric circles. The background graphics are so uninteresting you won't even notice them. The bright-colored projectiles offer plenty of fireworks, but the action is mediocre at best and the constant shooting noise is obnoxious.
Most bullet hell shooters reward the player with eye candy and a sense of progression. Bullet Ballet provides neither and doesn't even save your offline scores! It's a real shame because I got the special edition with a soundtrack and art book. I think my friend Scott put it best: "I don't know what's going on here, but it's not fun." © Copyright 2016 The Video Game Critic.