It isn’t quite the game to finally thrust Assassin’s Creed forward into new territory, but it’s the one to point the series at true north for the first time in years.
This is the best kind of remaster: a lovingly crafted technical update that’s also a master class on how a developer can evolve ideas.
It’s an experiment that acts as a deconstruction and overjoyed celebration of everything Super Mario Bros.
It asks us to buy Max as a wasteland messiah whose life consists of spending his most sane years playing fetch.
Worst of all, unlocking the new monsters involves trekking through the tedious campaign over and over again, grinding for experience.
It’s not the polishing of the old that makes it worthy of the current gen, but how far the game is willing to present a twist on mythology.
It’s the same brick wall of a problem Netherrealm Studios has been running into since Mortal Kombat vs. DC.
Even with all the gadgets, all the exhilaration of success, its greatest achievement is in making it feel like it just might not be enough.
The comedic lengths the game goes to make the series’s trademark wanton cruelty palatable is impressive.
Season three of Orange Is the New Black breaks the cycle the previous two established of creating an obvious antagonist.
Two lackluster RPGs slapped together with a basic matching game, sans any gotta-catch-’em-all glee.
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.