Sunday, January 1 1995
Partners in Time is by no means an epic at 25 hours, but it knows its platform; it is a portable title meant for quick bursts of gaming.
I can't think of another Nintendo franchise that's so readily adaptable to online play.
If the gameplay inspires some slight meditation on fate and manipulation, the story is obsessed with it.
Just take the blue pill.
You spend the bulk of the game locating spots the designers want you to deface only to color in between the lines.
The sights, the sounds, the strategy: everything comes together and makes you say, 'This is Middle-earth.'
If Kay sounds like your typical action/platformer, it is. But that doesn't mean it isn't well done.
The first Kingdom Hearts and its current sequel are both masterfully managed marriages of two narrative universes with similar goals.
As with the previous installments, Kim Possible 3 is not meant to innovate or revolutionize gameplay, merely attract tween-and-younger consumers to the lucrative video game market.
The PlayStation 2 has introduced far fewer landmark masterpieces, especially in the role-playing genre.
Let's not fool ourselves; a cheap knockoff is a cheap knockoff.
The plot and story, in many ways the game's major trump card, can often expose its weaknesses.
Despite the participation of comic book scribe Paul Jenkins, the story itself isn't all that memorable.
As we look back at gaming history, Halo will ultimately be remembered as the game that single-handedly made Microsoft a major player in the console market.
Despite its pretty sheen, there have been compromises with this build.
I'm uncomfortable with the way cultural identity is reduced to an affectation to be put on during certain moments.
When looked at through the normal critical lens, there's little here to recommend.
The interesting thing about Graffiti Kingdom is its effort to make drawing and creativity count.
Geist fumbles what should've been its biggest selling point.
This emphasis on creative and efficient ruthlessness is positively Machiavellian.