“The mission isn’t new. Take up arms to rid the universe of evil corporations—it’s the story of countless other video games. Big money is the villain because it’s an easy narrative target. Coming from mega-studios listed on stock exchanges, the effect is mostly just pandering. But not in DmC. In fact, DmC’s openness and gusto is remarkable. The root cause of DmC’s rise of capitalism is not only money—it’s depression, stress, and trauma. It’s insufficient minimum wage jobs, the effects of an abusive society in an era of social openness, and dwindling educational resources.
DmC battles these broken societal norms and cleaves them in two, its new Dante more affably sarcastic and, to the affected generation, more relevant. Paired with hoodie-cloaked Kat and her history of family abuse, this video game of demons, overlords and underworld gods suddenly turns intellectual and observant. Dante is a loud protester, but with a sword and guns and a potent solution instead of a sign.”
Read my full retrospective on DmC at Playboy
“This feeds back into a horror fable about rogue viruses so exhausted and stretched it should have been taken out of service sometime around 1998. The virus must have infected the shark which would have jumped over the series. It would be more interesting at this junction if the STARS team returned to the original mansion to play a live version of Clue. (It was Barry with the candlestick.)”
Read my full Resident Evil Revelations 2 review at GameSkinny
“Fan fondness for the 8-bit classic is not birthed aside from flattened nostalgia, but rather platforming perfectionism courtesy of the Capcom/Disney marriage. It would continue to spawn quality recreations from Chip & Dale to Darkwing Duck (and others), but the affection is here, honored graciously. Respect is shown for the source material, show and game alike. DuckTales has now been honored as a deserving and distinguished part of essential gaming canon.”
Read my full DuckTales Remastered review at Blogcritics
“What was conceived as a distinctly Japanese look at American culture (with uniquely Japanese design ideals) has completed a shift toward Westernized appeal. This explains a grittier vibe and touches of preposterous grindhouse cinema. DR3 is otherwise frustratingly serious in its direct narrative. There is no underlying satire and plot developments lean toward sweeping government corruption with limited touches of population control.”
Read my full review of Dead Rising 3 at Blogcritics
“Materials are cribbed from science fiction tropes, and Lost Planet 3 is so brazen in its theft, it’s hard not to appreciate how aggressively mined these elements are. Scoring, under the auspicious cover of limited electronica, captures the unnerving aridness of Ridley Scott’s Alien. Duck, cover, and rolls ping Gears of War’s brawny defense, while newly constructed, intimidating shocks cull Dead Space “inspired” fright. Embellishments of the HUD, including visibly floating wrist displays, are unafraid of displaying wholesale mimicry.”
Read my full Lost Planet 3 review at Classic Game Room
“Project X Zone is fetishistic in its colorful depictions of cartooned mayhem, so stately as to bog itself down into retro-fied simplicity. Players unwilling to cast aside 40 hours for a straight session can be relieved: X Zone is built for minimal and partial digestion. Taken in diminutive chunks, it becomes naturally filling. This is in-joke laden comfort food for the tactical klutz.”
Read my full review of Project X Zone at Blogcritics.