I never thought that a GTA game would be in handheld format. We had the original two games on the GBA, but that was kind of expected. Chinatown Wars is a brand new hand-tailored experience for the DS and later shoehorned onto the PSP. There are touch-screen controls, a whole new interface, and mini-games galore. This game feels like what GTA 3 would have been if it hadn't gone full 3D. You get the over-the-top perspective, but everything is still in 3D. The game looks really good for a DS game and feels like a unique GTA experience.

The story is your typical GTA gangster revenge story. You play as Huang, whose father was murdered for an ancient sword that was passed down to mark the next mob boss leader. Huang flies to Liberty City to avenge his father's death, get to the bottom of the Triad and gang squabbling, and get that sword back to help his uncle move to the top. The story is full of deceit, betrayal, deception, and revenge and is mostly uninteresting. It doesn't have the charisma, flair, or flavor that the console versions have, mostly due to the lack of voice acting. The story is told through stills and text, which makes sense on the DS, but definitely doesn't give the characters any well-being. Many of the mob members are stereotypical drug and sex addicts, power-hungry, stupid, and Huang can't trust anyone. The story has around 50 missions, and they play out similar to the console version.

The main interface is custom for the DS. You get a PDA-style screen that you can touch. The map is displayed here as well as your radio stations, throwables, and weapon switching, and the menu in the PDA will show your trade info, emails, settings, stats, etc. It's very intuitive and just makes sense. New story missions are given via red emails. These will also give you a shortcut to place a waypoint on the map leading to that new story. There are a lot of quality-of-life things like this thrown in. The GPS map has shortcuts for everything you need, from odd jobs to your safehouses. You can also order ammo and weapons from Ammu-Nation on the PDA as well. They show up at your house, and you get an email telling you when it's ready.

Running around the world of Liberty City feels lively because of the limitations put in place. You can run and jack cars, drive off and kill everyone on the road, and gain your infamous wanted stars. Stars can be dropped by making police cars crash, which will help lower your wanted meter faster. I did feel there were way too many cops around in this game. It seemed every 5–10 cars was a cop car or a pig walking around. I was constantly caught carjacking or running over someone, and I was always running into cop cars. This felt way overdone in this game. Driving around Liberty City does feel great. The game never slows down, and the ambient sound effects of the original radio tunes (they're instrumental and not licensed due to space limitations on the DS carts) make it feel like a living and breathing GTA game on the go.

Missions are varied, but some elements of missions can get quite annoying, causing multiple deaths and restarts. The auto-lock-on feature for shooting isn't that great. You don't always lock on to the closest enemy or an enemy at all. This caused many deaths when I locked onto a car instead of a person shooting at me. You can roll around and dodge people, but many times I was stuck without a weapon and would have to order something from Ammu-Nation, go to my safehouse, wait, pick it up, and go back and restart the mission. Thankfully, you can trip skip if you get to a certain point in longer missions, which saves you time, and you can skip cutscenes. A lot of mini-games surround missions, such as tapping the screen to break locks, mini-games to use cranes, plant bombs, scratch cards, tattoing, and many others. These were a lot of fun, and I was always looking forward to the next one. However,  trying to jack a car and being stuck in a mini-game of hot starting it for the 100th time got old and would make me get busted as you can't back out of it. Most missions vary from shooting, following, and chasing, and some put you on turrets or throw bombs out of a car. Overall, the mission variety is awesome, and I never got bored.

The biggest setback in the game is the new feature of drug dealing. You can use your PDA to see the drug turf map for who buys and sells what. This is required to actually make money for weapons and sometimes even start missions. Some missions require a certain drug type or a large amount of cash. This means setting a GPS waypoint for a dealer who sells said drug and buying some from them. You need to make large profits, so it's best to wait for an email when a dealer is selling at a discount and then turn around and sell it. This takes a lot of time—driving around and waiting around, however. Buying and selling drugs at market value won't get you anywhere. Odd jobs can give you a few bucks, but they don't pay out enough. This really slows the game down and hampers an otherwise fast-paced game. 

When it comes to visuals, the game really shines on the DS. There are small, subtle things, like street lights turning off when you hit the poles. Weather patterns such as lightning strikes casting shadows on the ground, sparks, fire effects, and even being able to close the driver door if it's still open while driving (let go of the accelerator and Huang will close the door). These small changes help make this a high-quality DS experience and set it above the rest in terms of production values. Chinatown Wars may have a forgettable story and characters, some control issues when shooting, some frustrating missions, and a drug dealing mechanic that hinders more than helps, but overall the game is miles above what I thought a portable GTA game could be and in some ways feels better than the PSP GTA games.

Analog horror is a huge fascination for me. After exploring this idea on YouTube and seeing Local 58 and Gemini Home Entertainment, I became hooked. It's a mix of 90's nostalgia, analog media, and that feeling of older technology being unclear and playing tricks on your senses. Home Safety Hotline tries its best to be the next analog horror viral sensation, but it doesn't quite hit the nail on the head like the above-mentioned videos. While this is a video game and not a series of videos, I will say that it captures the atmosphere well.

You are an employee, plopped down in front of a 90's beige box, and you are presented with a desktop. You will see exclamation marks on items that have new information. There are videos you can watch on the desktop as well as check your email, and then the main program is where you will spend most of your time. Once you launch this program, you clock in and are presented with a series of informational links. You are answering calls and have to prescribe the correct Home Safety Hotline information package to the caller regarding their problem. Entries are locked until you progress through the days of the week and give the correct answers.

It's incredibly important to read every single entry thoroughly and actually remember it. You want to remember the symptoms and signs these things cause people. At the beginning, you get basic information about things like ants, bats, moles, and flies. As the days move on, the analog horror part starts to come into play. Stranger and stranger entries for things like Spriggans, Hobbs, Cellar Grottos, and Reanimations. The artwork is superb and accompanies these entires as well as some audio entires. It's creepy for sure, but never quite the same. Turn on the lights and get goosebumps vibes. There's some cheese added to this game that takes away from the realism factor. Analog horror is so great because it seems like it could be real. Some of the drawings, while good, don't look like they were captured on video or with a crappy digital camera. They look drawn-in. The videos on the desktop are some of the best parts of the game that capture that analog horror atmosphere.

This is a riddle or puzzle game, so you have to guess the correct answers or get fired and have to restart the day. After each call, there is a ten-second pause until the phone rings again, but when you put the caller on hold, there is no time limit or penalty. You can take your time, read all of the entries, and make your decision. Some calls are obvious, while others are vague, and they can get quite tricky towards the end. There are anamalies and disturbances that accompany analog horror, such as weird phone calls, network interruptions, and strange messages. While I would have liked more of this, what's here is fine for a short horror game.

Overall, Home Safety Hotline starts out pretty disturbing and odd, but slowly evolves into cheese, and it kind of ruins the whole vibe. Being an employee at a mysterious hotline is fun, and there is a lot of potential for a sequel or something more. Solving the riddles is fun, and the artwork and entries created give a slow trickle of "what the hell is going on here?" vibes, but it never quite peaks like some of the classics in the genre.

Final Fantasy VII is one of the most influential video game and pop culture icons of all time. It was revolutionary in its day in storytelling, graphics, and scope. I never got around to playing the original PS1 game. When the game came out, I just wasn't into JRPGs and would never have had the patience to finish the game or even remotely understand the story. I was 7 at the time. Fast forward nearly three decades, and out comes the remake. The Final Fantasy VII projects have been in the making for nearly two decades. I remember the Adventu Children being released. I rented it and watched it with my parents, and I had no idea what was going on. There was a mobile game exclusive to Japan at the time, and Crisis Core had just been released. I also had no idea what was going on in that game. I couldn't appreciate these FF7 projects as I hadn't played the original title.

That has all changed. Square Enix did a great job bringing the game up to par with modern audiences and video game standards. Not only is the story well told and easy to follow, but it's still complex and full of interesting and lovable characters. While this game is only what the first disc from the original offered, there are 30+ hours of content here to explore. While the game isn't perfect, there is more to love than to hate, and I was surprised at how great this game was. I didn't want to put it down. From the well-done English voice-acting (which was a shocker) to the well-paced and fast-moving story, the game never got stale (at least during the story moments). 

The basic structure of this game is very linear. This is a dated design choice that transferred over, but some think this game has been in development since the tech demo for the PS3 reveal was shown in 2006. If that were the case, then this linear design would have been considered mostly modern at the time. There are large towns to explore, but these still have linear paths, and the story mode is a single path you follow, and there's no way to branch off. This is both fine for a scripted story but also feels cramped in some aspects. Despite how large Midgar feels, with sweeping vistas and massive backdrops, you can explore very little of it. There's a large sense of scale, but what you can explore just feels so claustrophobic in comparison. Many thought this would be an open-world game, but to follow the story the way Square Enix's wants, that wouldn't be possible, and I can see why they chose this path.

Exploring the game (and even the menu system) is similar to most modern Final Fantasy games. You run around towards a goal, fight bosses, run into enemies, do some mini-games, complete side quests, and try to get the best accessories, armor, and weapons in the game. This is all slowly introduced to you, but let's start with the combat, as that's the bulk of the game. Combat is not turn-based, but you can pause the action to give commands. The controls are intuitively designed to allow this to be done with minimal effort. You have regular attacks, a special attack, a block, and a dodge button. When enemies have red exclamations over their heads with the attack name, you know it can't be blocked but must be dodged. Cloud's alternate special attack is actually a stance called Punisher Mode, and while you block him, he will auto-parry incoming attacks. This comes in handy all the time. 

You can issue commands, such as using ababilities. These are obtained by changing weapons. Materia can be equipped to give you commands that use MP. Things like magic, offense, defense, and even passive Materia can be slotted. Different weapons and equipment determine your slot count. It's important that you learn this system well and balance your team. You can only have three active party members at a time, but you never change your party. It's all based on the story. You will go through multiple chapters with a missing party member, but you can still upgrade and equip them all the time, even when they aren't with you. Powering up weapons is also a must. Each weapon has strengths and weaknesses. Some focus on sheer power, some on magic, and some on defensive skills. You acquire SP through combat and can use it across all weapons. Each weapon gets the same pool of SP separately. If you have 90 SP, you can use that separately on each weapon, which is really nice. As you level up, you unlock new SP pools.

Combat is fast-paced, fun, and exciting. Each character can be controlled by the player in combat only. During exploration, you're mostly stuck as Cloud or another character, as the story deems fit. Cloud is an all-rounder; Aerith mostly focuses on magic and distance combat; Tifa is a fast-paced melee fighter; and Barret uses a mid- to long-range gun, which is great for aerial enemies. He also has a ton of HP and defensive points. You can issue commands to other characters with the triggers that pause combat. You all have two AP gauges that fill up slowly over time or quicker as you do damage. These are needed to even use items in combat. These guides are the center of your strategy because, without them, you will die. You have limit breaks, which really can only be filled during longer battles (mostly bosses) and summons that deal massive damage, but the battle needs to be long enough to fill these guages.

Summons are mostly acquired optically through the VR training. You only get two during the story mode automatically. These are the keys to strategizing battles and winning as quickly as possible. I found the combat rarely frustrating. Only during long boss battles with multiple phases did I find it annoying that these cut-scenes were not skippable. You need to watch them all over again if you die. This didn't become an issue until towards the end of the game. You can run away from battle by running away and fleeing, and thankfully enemies regenerate until you leave the entire area and come back. The boss battles are all unique and imaginative, and no one is the same. The smaller enemies are also unique and different, and they require you to learn their attacks and know what is weak against what type of attack. There is a lot more strategy in the combat system than a simple hack-and-slash setup.

While combat is the bulk of the game, you will spend a lot of time outside of combat. There are a few simple puzzles inside some dungeons, but the hub areas or towns you explore allow you to rest, buy items, materia, armor, and weapons, and that's about it. The side quests and mini-games are some of the weakest parts of this game. While not every side- question is bad, Some offer challenging boss fights and good rewards; some just don't offer much story-wise. I completed almost all of them anyway for more XP, SP, and the items they offered, but fetch quests are just not fun here. Not to mention, the mini-games are incredibly tedious and boring and not well thought out. There's an okay darts mini-game. Beating the highest score and achievement. But there's a box-breaking mini-game that requires you to run around breaking different-sized boxes. This was incredibly tedious and not fun. There are combat VR simulators that net you material. Most of which you can acquire elsewhere. Then there's the optional summons, which can be incredibly difficult to acquire early on as you need to beat them, and you need three party members to even have a fair chance. There's also a pretty stupid dancing rhythm mini-game. It's just, overall, a bit lame.

Some other annoying niggles come from dated design decisions, like treating the player like they're stupid. For decades, games would have you flip a switch, cut the camera away, show you that a gate in front of you opened, and then give you control. I'm pretty sure most people can figure out that the switch opened the only gate on the only path you can go down. I also got annoyed by how animations would have to line up to whatever script they were tied to, do the animation, re-align, change animations, flip the switch, then go back. It just slowed things down a lot. 

Outside of the mostly optional and passable annoyances, the visuals are fantastic. Character models look amazing, the pre-rendered cutscenes are some of the best in the industry, and the story and overall character designs are some of the best you will ever come across. The story is deep and full of political intrigue, and I want to know more about this world, the characters, and see things move on. It's sad that Square Enix takes so long to make sequels, but what are we going to do? With the fantastic combat system that adds just enough strategy and depth to the large swath of enemies, bosses, environments, and perfect pacing, FF7 Remake is fantastic. The additional Intermission DLC is also wonderful, and playing as Yuffie is a blast. The short, 4-hour story DLC still has more of the same lame mini-games and annoyances as the main game, but the story is just so well done. There's nothing quite like it out there.

Simulator games that mimic mundane, everyday jobs can be surprisingly cathartic and relaxing. The zen-like repetitive tasks that give you the seratonin boost of progress over time, orgainzation, or customization flood Steam and are eeking out onto consoles if they become popular enough. Sadly, most aren't done very well and either have janky mechanics, a very low budget, or feel like copy and paste or an asset flip. Very few do it well, with Powerwash Simulator, Truch Simulator, Cooking Simulator, and PC Building Simulator being some of the top kings that do it right. House Flipper was one of those, and it felt janky but had so much potential. It was almost there, and I feel they got there with House Flipper 2, but there's still tons of room for improvement.

The first thing you will notice are the much improved graphics. Better lighting, effects, higher resolution textures, and an overall better-feeling game. It feels less low-budget and more like how it really should be. There's also a lot more variety, and the game's new grid-based placement system completely rewrites how the game plays. Forget everything you knew from the first game. That game feels essentially like the foundation for this new vision the developers have. The game now has a story mode, which is of course unimportant and pretty much filler, but there is some voiced dialogue and you can answer phone calls. Your email map that you take jobs from is sectioned into different types of neighborhoods. Rich, suburbs, oceanside, rural, etc. Once you accept a job, the game starts very slowly. Just simple cleaning, washing windows, picking up trash, and selling items. That's about it for a good while. The perk system still exists but feels more useful. As you do each type of job, you will be able to make it faster, better, and more efficient for much larger jobs.

Just the simple tasks of trash pickup and cleaning are much better. You eventually get spray that can turn all the dirt soapy, it's easier to wipe up, and things go faster. Trash pickup eventually expands your pickup grid, so it goes faster. Vacuuming is better and looks nicer. Leaves, coffee beans, rice, marbles, and many other forms of dirt are new and present, so it doesn't feel so repetitive. Stains range from paint to foot prints now as well and can be on any surface. When you start demolishing, building, painting, and surfacing, some of the most repetitive and boring tasks from the first game are more fun now. The entire game is based on a 1x1 block grid system, so these tasks let you fill out a grid on a wall or floor and fill that in more efficiently. Demolishing lets you hold the button back and fill out a grid. As you get more perks, this grid fills. Painting now lets you select a border, and you can just fill it with your brush. Eventually, your brush gets bigger, and you use less paint.

The same goes for surfacing and building. You can select borders for the building and fill in the bricks this way. Everything just goes faster, feels more satisfying, and feels less like a chore. When you buy objects from the quest list, you can place them easier thanks to this 1x1 block system. You can place any item anywhere, even stack items, as long as it fits. There are so many more items to choose from, and they look better as well. Just the effects of paint trying and demolishing walls crumbling better add to a much better overall experience. I also like how assembly is now stripped away from building and left as a mini-game. There are only a dozen objects you can assemble, and it's time-based. These were done in your workshop and are much more detailed. They come together like IKEA furniture, where you drill holes, hammer wooden pegs, and attach every screw. This makes remodeling homes less tedious, and your assembly score gives you discounts in the store. Now you can just place radiators, tubs, showers, etc. without having to assemble every single one.

When you finish the story, you can still complete jobs, build homes from the ground up, and just have fun in sandbox mode. There isn't a lot of story content—about 15-20 hours—but you will blow through it due to how much fun you are going to have. This is one of the best job simulator games next to Powerwash Simulator, and I can't wait for the third game to see where the developers will go with it. My only real complaint is that the requested furniture doesn't have the required layout, which would have been nice. You can just throw it all in the middle of the floor, and it counts as complete. This makes buying furniture pretty boring unless you just want to make these homes look nice without any type of reward. As it stands, House Flipper 2 is a night-and-day improvement over the original and is heading in the right direction.

Max Payne 2 was released a little over a year from the original and a surprising amount of fat was cut from the original. It’s the same game, but more refined and updated and feels more tightly woven than its predecessor. A lot of problems were fixed, but new ones arose as well. The narrative continues right after the first game with Max still trying to avenge the death of his wife and child, still trying to get to the bottom of The Inner Circle, and a new love blooms: Mona Sax.


The game starts off similarly to the first game, we get some weird trippy dream sequences, but they aren’t nearly as awful with zero platforming this time. Once you are in control of Max you can instantly feel the difference. He has more weight, his animations are smoother, and gunplay overall just feels punchier and sharper. More weapons were introduced with many old ones coming back. The new M4 and Kolishnokov weapons are a great addition, but unnecessary. One assault rifle is good enough as well as the addition of the HP5, but the Ingrams do just fine for a sub-machine gun. While the older weapons pack more of a punch the new weapons just feel like they were added just to add to the weapon count, less would have been fine. A new dedicated projectile button has been added so you can throw grenades and molotovs without equipping them.

Bullet Time has been refined and fixed as well. Max can now spin around in a 360-degree motion while dodging and the bullets impact harder and there’s less of a delay when you shoot. There is also better feedback on enemies when hit as they stumble more and drop their weapons so you know they’re dead in bullet time. Max can also stay lying down while continuing to empty a clip so the delay in getting up doesn’t make you completely vulnerable as the first game did. The difficulty has been dialed way back and I died a lot less than in the first game. All these great fixes and additions make Max Payne 2 the better of the two games already.


When it comes to level design, Max Payne 2 has more interesting levels like a creepy funhouse, a sprawling mansion, a construction site, and some apartment slums, but there’s a lot of backtracking and I feel the overall scope of the game feels claustrophobic. The variety is better, but you explore those few areas longer and I just feel I wanted to see more of New York inside this noire world Max lives in. Also, gone are the boss fights so the game feels better paced and I felt a tempo of gameplay going that the first didn’t have. However, the game is much shorter clocking in at 4-5 hours. There aren’t any collectibles or anything like that so once you fly through the game it’s over and there’s no reason to ever go back honestly.


Max Payne 2 is a memorable ride. The story is still told in those awesome comic strips, and I feel at the end of the game we get to know Max and Mona well enough to understand their characters and want them on screen more. Their love story is a great centerpiece for this Mafia revenge tale and it makes Max and Mona feel more human. There’s still a cliffhanger at the end of the story, and a third Max Payne game didn’t come until a decade later, but what we get is one of the best single-player shooters of the PS2/Xbox era. It’s tightly compacted and solid and while its short, sometimes that means quality and that is rare even to this day.

While the main next-gen console version of the game is considered to be an all-time classic and helped revolutionize the online FPS genre, the lower-powered hardware versions were completely different games. While they share the same name, you wouldn't know these were Call of Duty games if you played them and no one told you.

Modern Warfare for the DS loosely follows the plot of the main game but instead takes liberty with its own unique levels and design choices. Obviously, we are working with barely better-than-PS1-level hardware here. n-Space really had to be creative and make entirely new games, mostly "themed" around the franchise. The game is still in first-person view, and you can switch between two different weapons. By default, you always start out with a pistol and another firearm. You can pick up weapons with the touch screen (a hand icon) and use that as your main weapon will not have any extra ammo available when you run out unless you die. When you die, you start out with your default weapons again and lose whatever you picked up, but your ammo is refilled. Weapons in this game feel decent, but the slowdown from the DS being pushed too hard (especially when enemies pop in) makes aiming a bit sluggish and janky. 

Aiming with the touch screen feels fine. Using the D-pad or face buttons to strafe isn't an issue either, but using the R or L button to fire can give you massive hand cramps even with larger DS systems. Most everything is controlled by the touch screen. Double-tap to bring up the ADS (Aim Down Sights), switch to grenades, and tap the weapon icon to reload. There are a few quality of life things that n-space did think of, such as when you reload, you go back to ADS if you are in that mode already, and spriting pulls you out of ADS mode. My issue with ADS is that while it's more accurate, there's a delay in bringing it up on screen, and that delay can cost you your life. When enemies pop in and the slowdown happens, it won't respond to my double-taps fast enough, and I would constantly bring up the ADS and back out a few times caused by the delay. It's not game-breaking, but very annoying.

There are two mini-games when setting explosives and defusing bombs. I found the pipe puzzles annoying, and following the wires to defuse bombs isn't really fun or challenging. These were just thrown in here to make use of the touch screen. Honestly, who wants to solve puzzles while playing Call of Duty? It's weird and just doesn't fit. It really breaks the flow of combat. The enemy AI is also pretty dumb. Enemies just stand there and shoot at you; don't take cover or move out of the way. This is literally an on-rails shooting gallery and is insanely linear. Levels are way too long, and some objectives have unfair checkpoint placements or none at all. Objectives range from collecting something to planting a bomb or just shooting everything in sight. I found the scripted mounted machine gun levels pretty fun, but the AC-130 level (similar to the console version) is awful and boring. You can barely make out any enemies, and you can't use larger weapons against smaller enemies. There are only a couple of buildings to blow up, and you just mow down dozens of enemies over and over again in almost complete silence. It was a bad level, for sure.

The visuals are decent for what the system can do. They are definitely sterile and boring to look at, with no artistic flair. The game tried capturing the hyper-realism of the consoles, and the DS just can't quite do this. It's a very brown and beige-looking game. There's no personality put into this game. It feels like a copy-and-paste FPS that you could attach any name to. Multiplayer is the same as single-player, but with another person. It's not very exciting, and your friends will get bored fast. I appreciate n-space for trying to capture the excitement of the console versions on the limited hardware, but it needs something else. Better enemy AI, less linear-feeling levels, more interesting scripted levels, and fewer storyboard-cut scenes. It's a great first start, but it has a lot of work before it becomes a staple DS shooter.

The Need for Speed series has been seriously confused and hurting since Most Wanted. While Shift was a simulator, the other ones in between have been either subpar or bad. Hot Pursuit revives the classic entry with the Burnout team behind the wheels, and this feels more like Burnout than Need for Speed, however. Using the Paradise engine Criterion did a good job making the game both look pretty and giving us a Burnout feel with real-world cars. These are slick cars ranging from Mustangs to Maseratis.

As the name would suggest it’s about cops versus racers, and each opponent gets a set of four weapons. Cops get EMP, Helicopter, Spike Strip, and Road Block. Each is pretty self-explanatory, but this feels like a glorified version of Burnout’s Road Rage mode. Racers get the same, but instead of a helicopter, and roadblock, they get a Jammer and Turbo which is an extra boost of NOS. Now you can earn turbo by doing crazy stuff as well.


The world map is also classic Burnout style with each icon labeled for racer or cop and there are previews, time trials, and special events for each side. There is also the Autolog which is a social networking type setup. Your friend’s best scores will be posted, and you can post screenshots and videos of your races. If a friend beats your score you can jump right into that race and try to beat it. While the single player is fun it’s the online stuff that makes the game shine with all the weapons. The single player feels predictable and stale compared to multiplayer because it feels like this game was made with multiplayer in mind. You earn bounty and have to hit certain goals in single player, but it’s nothing we haven’t seen in racing games already.

Once you race everything feels fine, but the steering tends to suffer drastically depending on road conditions and the car. Despite awesome damage modeling, the cars all feel pretty much the same, and the sense of speed is so fast that you don’t notice speed differences. This also concludes the repetition because once you unlock all weapons it’s just the same events over and over again, and some people may never even finish the single player due to this. The game can also look pretty good at times, but in other ways, it doesn’t.


The chaos comes from the fact that in multiplayer you never known what anyone is going to do. You can see a roadblock ahead and get your shot lined up to dodge it, but just then someone deploys a spike strip right in your face and you hit both losing a crap ton of health. You can take off again and try to shake off a helicopter, but then get hit by an EMP. It’s the same with racers, but this can also feel a bit unbalanced since racers biggest weapon is the jammer so cops can’t use their weapons for a few seconds. It all depends on the players’ skills and how they race really.


Despite the repetition and lack of weapons, the game works, but also notice all the Burnout references? There’s hardly any Need for Speed in this game despite the real world cards and the Hot Pursuit title. This is just a weird mix up of game identity, but it’s probably better a Burnout feeling than an old crappy NFS game rehashed. Criterion already had the engine built for something like this, so I expect to see a sequel in the near future. I do recommend this is Burnout fans more than NFS however, but old school Hot Pursuit fans will dig this completely.

Resident Evil: Village is one of the best games in the series. It delivered dark horror that continued from VII, great level design, awesome characters, and an overall fun experience. Shadows of Rose ends up feeling like a super mini-RE game and runs for about three hours. You play as Ethan's daughter Rose this time around, learn more about her kidnapping, and revisit a couple of areas as her, with new powers to boot.

The game plays exactly like Village did when you were Ethan. The only difference is that Rose is slower and not as strong as Ethan. You also only get two weapons in the DLC. A pistol and a shotgun. As a trade-off, you can use your anti-mold powers to interact with the environment and counter enemy attacks. You get to upgrade this over time through the story and can eventually slow down enemies with it and repel some. You end up revisiting Dimitrescu Castle and the home of the creepy doll, as well as a small section of the village. It's nice to go back to these areas, but they are completely different with Rose present. There are also a couple of boss fights thrown in for good measure. The first third of the DLC is all action and shooting-oriented. You can still craft health and ammo, and you only find two upgrade parts for your pistol (none for the shotgun). The second third of the game is focused on stealth and puzzle-solving. The final third of the game is more cinematic-oriented and rather short.

I felt Capcom did a good job reusing these areas and constantly mixing up the gameplay. The stealth sections felt tense, the puzzle solving was simple enough to not need a walkthrough or guide, and the boss fights were pretty fun and interesting. It felt like Village all right, and the only question is whether or not the ending to Rose's story is worthwhile. It's included in the Winter's Expansion, which includes a third-person mode and Mercenary missions, so I would say so. However, there is no reason to go back and visit this DLC, unlike the main game. The powers aren't interesting enough to come back to either. They are mostly used to clear obstacles and stun enemies, and that's about it.

Rose herself isn't a very interesting character. I feel I don't have any reason to care about her, and she wasn't talked about enough in the main game. I feel she could have potential, but would need her own main game to pull this off. There isn't much story in the DLC to begin with, and I was left with more questions than answers. I just shrugged at the end and didn't give it a second thought. Most people come for the action and gameplay and not for the story.

P.T. started the trend of subtle horror games. No scary music, looping hallways and rooms, or needing to notice any changes to move on. Exit 8 is exactly this. A single white hallway in a subway tunnel has a couple of turns, and it loops endlessly unless you notice changes. There is no story, no background, and no character development. Just this single white hallway, and you need to get to exit 8.

Your only sign of progress is the yellow exit sign, which increases in number as you make your fourth turn. If that sign goes back to zero, you missed an anomaly. When you see it, you are supposed to turn around and go back the other way. Anomalies can be really obvious, like lights being turned off, open doors, or a single man walking towards you doing something different. Other subtle ones can be the floor tiles, a security camera light, or a poster changing. You might get really frustrated at first, but keep going. Memorization is the key to getting the job done. Once you know exactly where everything is supposed to be—how many doors, posters, etc.—you will finish in under an hour.

The horror elements are subtle and not forced. A moving object, no music, and just the hum of the lights and footstops. Maybe a creaking door might make you jump. You can stop, take your time, and check the main hallway for changes. Running full force all the way through will make you miss things. You have to turn around to see a few anomalies anyway. If there aren't any changes, you keep moving on, and sometimes this can really make you feel like quitting. You will think time after time that the hallway is fine, but then you will notice something new and just keep moving on. Don't let that sign resetting to zero keep discouraging you.

The graphics use Unreal Engine 5 and are nothing special, but the atmosphere of the sterile white hallway makes it creepy. A lack of music and most sound effects makes you feel on edge all the time. The single-footed man makes you very uneasy every time you pass him. All you want to do is get to exit 8, and the intensity might make you miss things as you become more and more anxious to get out. This single-looping hallway might drive some people nuts.

Overall, The Exit 8 is a fun game that lasts a couple of hours at the most. There are only two achievements, and once you see all the anomalies, there is nothing left to do except maybe do self-timed speed runs. Some may find this a simple tech demo, but I think more horror games need to go this route. It's only a few dollars, and possibly getting some friends around to help spot things can make this a fun party game as well.

This is my first time playing a Mario & Sonic Olympic game outside of an arcade room. The series never appealed to me, and it's been around for what seems like forever. They never reviewed very well; they all looked and seemed to be too similar, and they felt aimed at kids. A mini-game-style game set around the Olympics is usually something you can blow off. Anything Olympic-branded is most likely hot garbage, but there is something here.

The 3DS version of the game has a story mode, unlike the Wii version. The mini-games are also hand-tailored for a more pick-up-and-go style and are much shorter. The story mode is quite simply dead-ass boring and a complete snooze fest. There was zero effort put into it, and there is no reason to play it other than to get used to some mini-games. The basic premise is that Mario and Sonic can't start the opening ceremony because Bowser and Dr. Eggman have set off a fog machine that produces evil versions of everyone. The cutscenes last way too long, sometimes up to five minutes, and consist of characters standing around grunting, showing emotes, and yapping about a whole lot of nothing. All of your usual Sonic and Mario characters appear, such as Team Chaotix, Princess Peach and Daisy, Yoshi, and Metal Sonic. That means absolutely nothing. When everyone is done running their mouths, you can pick a challenge. Some challenges are one event only; some can be more. There are five chapters in the story mode and then bonus chapters focusing on Bowser Jr. after the fog has cleared.

There are a lot of mini-games, so I will give the game credit there, and they are varied. You use everything in the 3DS to play these games. Shooting mini-games uses the gyroscope and the shoulder buttons; swimming might have you partially rotating the circle pad. A swimming game has you using the touch screen with your fingers. Some require timing and reflexes, but I felt some were pure dumb luck unless you played against an actual person. Some mini-games are just hard to understand, with about four screens of instructions before each game starts. This makes the story mode drag on, as you just want to jump in. I don't need to confirm three times and get instructions more than once. Even restarting an event resets all of this, and it's back to confirming everything. It drove me crazy.

Mini-games play fine on normal difficulty, but hard feels nearly impossible. Not one mini-game ever feels right or perfected. Some feel sluggish and unresponsive; others are hard to grasp and take multiple tries to understand. Some I never quite knew what was causing me to fail, such as the BMX sport excusive to the 3DS. You press A to jump, but you need to tilt the 3DS to land flat. I could never figure this out and always landed wrong, no matter what I did. Games that require timing, such as fighting sports, just get frustrating because it seems the CPU knows what you pressed, and it's a dice roll as to whether it fails. This is most notable in table tennis and badminton. I would get 50 rallies on one match and fail, but the next serve, the CPU would fail in 3 rallies. It never felt fair.

It got to a point in the story mode that I avoided the timing and reflex mini-games and went straight for ones that required physical ability to win, such as blowing into the mic, tapping a button really fast, or using the stylus. When you finally beat the story mode, you can mix and match event types through unlocked playlists or create your own. Once you've played every game a few times, there's no reason to keep playing against the CPU. This game really needs a second player to feel fun, but then you still run into issues with sluggish controls, and the game never quite gives you the control you need or that would make the mini-game feel more organic.

The visuals are pretty good for a 3DS title, but they're nothing special to write home about. Textures and character models look pretty decent, but it's your typical Sonic or Mario visual style, which can feel pretty boring around this point in time. I wish the story mode was better and wasn't geared towards pre-schoolers, and there are a few really fun games in here, but they are buried by the sheer weight of many other sub-par games.

Gylt, a Stadia (RIP) exclusive upon release, is a stealth game in a similar vein to Alan Wake. You play as a little girl trying to save her cousin Emily from monsters in a strange town, and you don't know where you are on top of all this. You slowly get introduced to new gameplay mechanics and fight a couple of bosses.

Gylt's short length means there's pretty much no story or character to capture your interest or care about. In the four hours it takes to complete the game, there is zero world-building. There's even a creepy old guy that we never find out what his purpose is or why he's even present. We don't know anything about the main character or Emily. It's like starting 1/4th through a book and ending at the halfway point. I felt like there was a lot missing. There is no context, exposition, or anything like that. You can go around collecting journals, birds, and whatnot, but what's the point? I won't collect things in a game if I don't feel connected to the world in some way. There's no motivation to push me to want to find out the small details. Gylt has pretty much none of that.

When it comes to gameplay, Gylt is a run-of-the mill stealth action game. The puzzles are elementary, giving no challenge to the players at all. You have two tools at your disposal. A flashlight and a fire extinguisher. The flashpoint can not just light your way, but a focused beam can remove objects, bust pustules on enemies to kill them, and the extinguisher can freeze enemies, freeze water, and put out fires. This is all fine and dandy, but there's nothing challenging to go along with these tools. You will be plopped into a room with a single moveable ladder. It's obvious from one glance around the room that it goes against the wall with the vent. However, you must destroy three eyes with your light to unstick the ladder. It's pointless filler gameplay. Even the light-switching puzzles are dull and simple.

Unlike Alan Wake, the focused flashlight to kill enemies just doesn't feel as fluid, and I understand combat isn't the main focus of Gylt. You are supposed to use it as a last resort—if you get caught at all. Most of the enemy patrols are easy to bypass as there are a ton of objects to hide around, and the game pretty much points a finger at your most direct path. There is a central hub with buildings that connect, and these are your main levels. Each level usually requires some sort of master key to get to its boss, and this is the only time the game was challenging or changed the pace. There are two bosses, and one focuses on combat and the other on stealth. I wanted more of this, but as the game dragged on, it never got more challenging.

The voice acting is good, the cut scenes are hand drawn, and overall, the visuals are nice. Pick any 3D animation studio in the last 20 years, and that's how your game looks. It's dark and moody, but never scary. A few monster designs are a little interesting and different, but nothing crazy. Also, don't expect the game to push your systems to their limits. This game may look nice artistically, but technically it's nothing special, and that's also okay.

Overall, by the end of the game, I had no reason to care for anything I came across. The characters aren't fleshed out, there's no back story to any single thing in the game, and I'm left just moving on from this game and will most likely forget about it in an hour. I love indie games that are short and sweet, but many are forgettable with passable gameplay and mostly decent visuals. This is becoming a trend lately, and it's kind of scary. I can't really recommend Gylt unless you want a short, spooky evening, but don't expect anything but average gameplay.

Red Dead, who? You might ask. Western-themed shooters weren't really a thing, and LucasArts made it their mission to be one of the first. Outlaws was the first of many things trying to break free of the Doom clones using their own Jedi engine known as the INSANE engine. It featured not just horizontal but also vertical aiming, the first shooter with a zoomed scope, and the first shooter to feature a reload mechanic. Outlaws pushed many envelopes in the PC shooter scene and was well received for its great visuals and solid gameplay. It was as fast-paced as any Doom clone and was recognized as such. If you are tired of Doom clones from the mid-to late-90s, Outlaws is a game that sadly passed you by. Outlaws was released on the cusp of new 3D engines like Unreal and Quake. The 2D sprites were welcomed as a breath of fresh air, as were the great art styles.

This was the first PC game I had ever played, back in 1999. My family got their first PC that year, but sadly, we couldn't afford to actually buy any games. My late stepfather and I actually mastered the demo of this game for months. It featured the first two levels, and we wound up beating both of them on Ugly mode at some point, remembering all of the locations of enemies, canteens, ammo, etc. It was indeed a fun time, but we always wanted to know what happened after the second level. To be honest, I dabbled in this game over the years, but it's so hard to get it running right on modern systems. Most of the game is broken, so if you have a retro PC still lying around with Windows 95 or 98, I suggest pulling it out. There are many fixes for the game from the community, so it's mostly bug-free now. This game really needs a remaster or even a remake. Where are you, Nightdive Studios?

The plot in itself is mostly throwaway and uninteresting. You play Clint Eastwood. I mean James Anderson, a retired US Marshal who wants revenge for the kidnapping of his daughter and the murder of his wife. It's a typical Spaghetti Western revenge plot with an evil German doctor, Bandits, and henchmen. There's nothing special or interesting here, but the art is fantastic. You get LucasArts' usual high-quality hand-drawn cut scenes and decent, for the time, voice acting. In total, there are maybe 5 minutes of cut scenes in the entire game. However, that's not the most important part. You're here for the shooting. The music is also fantastic, with the usual Western themes that you hear in movies and other media, but it's still well done.

The shooting is amazing, even to this day. It's fast-paced like Doom and Quake, but there's some strategy needed, which makes the game feel a little more modern. It has both feet on two different thresholds. You need to swap around weapons for different scenarios, such as the (way too many shotguns, by the way) shotgun for small rooms, the pistol for mid-range, and the repeater for long range. It even comes with a scope, as mentioned previously. You also get dynamite to toss around, a minigun that you can only use stationary and is very rare, as well as throwing knives. Stealth isn't really a thing in this game, but it's possible. You rarely run out of ammo, at least on everything but Ugly mode, so shoot away, cowboy!

Enemies are rotating sprites, like in most shooters of the 1990s. They look good and are all unique. There are skinny and fat pistol shooters. Tougher riflemen appear, and then every level has a boss. These guys will appear on the level when you find all the keys (brass, steel, and iron) and are hiding in a final room sometimes as well. This was my biggest gripe with the game. Some of the levels are labyrinthine, such as The Basin, and while there's a Doom-style map that fills as you explore, some of the levels also have keys in weird spots that you will miss easily. Sometimes you need objects to pass through levels as well. The aforementioned Basin level has a bridge that needs to be lowered, but the dark spot next to it blends in too well with the wall, and I needed an actual video guide to realize it was there. A flashing spot would have been nice, or even a giant sign.

I also found the controls pretty poorly set up, so you will have to manually change them. There is no weapon wheel, so you have to slowly scroll through weapons with the mouse wheel or numbers. There is also no quick save, and saving frequently is a must, so you have to constantly go to the pause menu to save. I also found things like alt-fire to be poorly mapped, which is the Z key and not the right mouse button. FPS mapping hadn't quite been standardized yet, so I can't be too harsh on it. Things like jumping and vertical aiming are a nice touch and continue to add to the strategy element of the game, such as aiming down a cliff or ledge. This also adds to the difficulty, as those used to Doom will assume the weapon will automatically shoot at anything not right in front of them.

Outlaws is one of the best retro shooters ever made, despite its flaws. The controls are terrible, the game is a pain to get running, and the story is pretty much pointless, but what is good is what matters most. The shooting. I didn't like how confusing some levels were and how important interactions were easily missed, but these things can be forgiven slightly due to its age and how many things it innovated. Scope zoom, vertical aiming, jumping, great-looking visuals and music, hand-drawn cut scenes, and manual reloading The game is short with only 9 levels, but there were more added for free in Handful of Missions. If you somehow missed out on this classic, then go back and check it out.

Have you ever wondered what it's like to play a game as the actual code or program inside the game? Well, now you can! TING is a game in which you embark on an adventure with the game's code. You start out at the title screen and must dismantle the entire screen to get the code's attention. In this process, you discover a "glitch" that is trying to destroy everything. You get sucked into other dimensions and try to find your way back. The entire game is in the style of a point-and-click adventure, but instead of controlling a single character, you are the "user" that the code talks to. He gives you hints along the way as well as being able to unlock actual hints, which makes some of the more obscure puzzles easier.

You have to really think outside the box with this game, as you can take down parts of the UI and completely break the smaller games inside to progress. You will end up with a classic adventure title and a JRPG that makes fun of Zelda tropes. The game also pokes fun at other games and mechanics, such as microtransactions and free-to-play mechanics. I don't want to spoil the Easter eggs, but the game has a great sense of humor, and anyone who has watched a few behind-the-scenes videos on how games are made will appreciate this game and the message it's getting across.

Every area is new and different, and no two puzzles are the same. Some areas have multiple screens, and you can manipulate them in interesting ways, such as unscrewing the computer monitor you're playing the game on and getting the back of the scene through the back panel. You have to also be okay with dragging the objects onto everything and trying combinations. Some things may not look obvious, but they make sense once you get the object or discover its use. Things like a mouse cursor popping a balloon, a metal letter T being used as a screwdriver, and the sign to a game title being used as a bridge. Almost every puzzle can be figured out with a bit of thinking, but a few were so obscure that I had to use all the hints available to me. When you press the hints button, it will show locks over the object that has hints. This can also be useful just to figure out what objects can be interacted with or what your focus should be without even using a single hint.

There are cutscenes in the game that can't be interacted with, and this is shown with filmstrips going up the sides of the screen. Because this is a "joke" game and you can break actual games inside, you need other cues as to what's a joke and what is not. Sometimes I didn't know what was a joke and wound up restarting the game, but you also need to trust the game. There isn't much else in terms of gameplay, but there doesn't need to be. This is a very clever idea for a game that I have never seen before. The story is interesting, the characters are likeable, and it's just an overall fun time and something really unique. The visuals are charming and switch up all the time, which makes you think outside the box.

The original Alan Wake is one of my favorite horror games of all time. Its gameplay may not hold up well today, but overall, the game is still solid. The atmosphere really pulled me in when the game was released, and here I am now, 13 years later, living in the PNW near where the first game was inspired. The story was full of mystery and suspense and always saw-sawed between being confusing and then suddenly making sense—always being a mystery. The story of light vs. dark and the definition of insanity play a big role in the world of Alan Wake, and that goes even further in the sequel.

Alan Wake II is pretty much an entire reboot on the surface. Taking some design questions from Remedy's previous entries, like Quantum Break and Control, they have integrated the series into their "Remedyverse" (you can borrow that one if you want!). The story has an entirely new way of being told via live-action cutscenes and in real-time. The new playable character, Saga Anderson, is introduced as an FBI agent who is investigating cult murders in the town of Bright Falls. She gets sucked into the story of Alan as he tries to write his way out of his own madness and destroy the main antagonist from the first game, Scratch. The story continues that constant teetering of not making much sense and then wrapping around multiple times to have it all click, but I highly recommend playing the first game (there's a remastered version out now) before playing this one, as there are many references. I also recommend playing Control first as well, as the stories are intertwined.

The game starts out so much different than the first game. Instead of a long, drawn-out, time-ccut scene of sunshine and beauty, you are tossed straight into something straight out of Silent Hill. You're a naked, bloated man running from cultists. It's a crazy way to start a game, and it shows the cinematic quality and effort put into this game. However, you control Saga first, and this is where the first half of the game starts. You jump between Alan and Saga, but their levels are unique on their own. Saga's side is more action-oriented and collectible hunting. There are three main large areas in the game. Watery, Bright Falls, and Cauldron Lake. Bright Falls is a main hub town that you can walk around in and also find collectibles. These range from cult stashes, breaking open locks with a screwdriver or boltcutters (found later in the game), Alex Casey lunchboxes, and nursery rhymes. These are all fun to find, and they all reward you with different things. The lunchboxes give you manuscript scraps used to unlock weapon perks; the rhymes unlock charms; and the cult stashes have various usable items in them. 

The combat itself is familiar from the original game, but it's more refined and feels like a solid third-person shooter. You still blast the darkness from vulnerabilities to make them vulnerable to your gunfire, but it's less frequent. Alan Wake felt like an action title and less like a survival horror due to so many enemies thrown at you at once. Like any survival horror game with guns, the best ones are locked away and require puzzle-solving skills to acquire them. Usually it's a three-digit code, and you need to figure out the clues in the room you are in. It's usually not super hard, and the answer is right in front of you. You just need to be observant. Weapons feel good to shoot, and while there aren't many, they feel unique. The pistol, shotgun (sawed-off, double-barelled, and pump variety), crossbow, revolver, and hunting rifle make up the majority of your weapons, but Saga and Alan's sides play differently even with combat. 

Alan isn't a fighter. He has much more limited ammo than Saga gets and usually only has the revolver and flare gun through most of the game. The shadows usually won't attack you if you side-step them, but in some cases, they require you to fight. He has less health than Saga, and his levels are mostly backtracking puzzle-solving-style affairs. This leads me to talk about the Mind Place. This is essentially an interactive pause screen that would normally be a menu with flipping pages. It's a room that loads instantly, and you advance the story here. Saga's Mind Place is more complicated and involved. She has cases on the wall, and as you discover things, you can place evidence on said wall, and when you find everything for that chapter, the case will be solved. However, solving these cases isn't required. You just need to place the main ones to advance the story. She also has a profiling section in which she can talk to characters in her mind. This gives her ideas when she is stuck and needs to move on further. There are also areas to listen to radio programs you found, TV shows, and manuscripts.

Alan's Writer's Room is similar, but you use it less often. Instead of profiling and cases to solve, Alan can switch scenes he finds through echos found throughout the levels. These are black-and-white orbs that shimmer, and you must align them with the camera to activate the scene. This is where a lot of the puzzle-solving comes in, and honestly, it is the weakest part of the game. Switching between scenes can become frustrating because you don't know which one you need to be in to access a certain area. When you switch scenes, rooms get closed off and new ones open. This also doubles down on the light-holding feature. Alan can absorb certain bright lights that open up a new path in that room. Some areas have up to three or four lights that need to be absorbed or put back in a certain order, and it can cause frustration. I didn't like this part of Alan's story. You can switch between Saga and Alan at any time with portals in certain levels and play any chapter in any order. Alan's side is mostly cinematic adventure stuff with a lot more storytelling than Saga's. Saga has larger areas to explore (three whole large maps), and Alan is mostly confined to one small area and kept inside various buildings in a more urban setting. 

Outside of the Writer's Room scene switching and the confusing mess some of the levels can be, the game is solid with a 15-20 hour play time. There is so much content in this game that it's hard to hate it. The visuals are state-of-the-art and push PCs and consoles to their absolute limits and beyond. On PC, Alan Wake II sports the latest ray-tracing and path-tracing tech and mesh shaders, which have been crippling the highest end of hardware. Unless you have a 4xxx series RTX card that can utilize the DLSS Frame Generation, you're going to struggle with ray-tracing. Even with DLSS on balanced and ray-tracing set to medium (and other settings optimized through guides online), I would dip below 60FPS at 1440p. Without ray-tracing, the game runs much better, but this is one of the few games where RTX actually makes the game a different experience. 

The game's horror elements are full of haunting atmospheres and fewer jump scares. There are a few, but they were done well and got me good. The monster designs are well done, but not overdone and made to be unbelievable. The game straddles reality and fiction just right to make this seem like it could really happen. The story really does a good job of making Saga and Alan worthwhile and memorable characters and delves deep into their backstory and psyche. Very few AAA games can do this right. Alan Wake II is not just one of the best games of 2023, but of all time. This is how you can do a sequel without making it a full-on reboot or changing very little. The entire game rides the middle ground on every level, which makes it nearly perfect.

Even if you aren't a fan of the movies I want to say right now that the game is based more off of the comics and original takes on the characters. I'm actually glad Eidos Montreal went this route. The game features a new story and even if you don't like Guardians of the Galaxy you should enjoy this game as just a pure action-adventure romp. The game is chock-full of humor, clever writing, a great story, and fantastic visuals.

You play solely as Star-Lord the leader of the Guardians. The game's length is something I want to mention first as it's fairly long. Running at least 15 hours and there's honestly not much in terms of venturing off with side quests or anything. This is a very linear game with small side paths that lead to components for upgrades or extra skins, but that's about it. You start off the game with a story-heavy intro. Tons of licensed 80's rock music, and right away you can see there's a lot of care and detail put into this game. Fantastic voice work, great sound effects, and tons of great artwork. The game consists of two main parts. Exploring planets on a linear path that includes light puzzle elements - barely that to be honest - and some platforming. Then there's the combat which this game relies heavily upon and uses as filler.

Let's just get the combat out of the way here. As I stated earlier, you only play as Star-Lord and you can order your other three teammates around. When you start out you slowly acquire up to four different abilities for each member including yourself and these are acquired with ability points earned through combat. I feel this is meaningless in the end and felt tacked on as there's not much strategy involved in combat. You can shoot your pistols until your heat meter fills up and then time the gauge in the green to offload the heat for a burst shot. Then you can mash a melee button as well. Honestly. Star-Lord is fairly weak by himself and I heavily relied on spamming the abilities of my teammates. Even my own abilities were fairly weak in comparison. Drax is a heavy tank while Gemora is like a ninja and can jump around slicing enemies. Groot is eventually upgraded as a healer towards the end of the game, but in the meantime, he can hold enemies in place. Rocket uses explosives and focuses on AoE damage.

This all sounds fine on paper, but in the heat of combat, the different abilities don't do enough that is different to mean much. I usually just relied on a couple of abilities from each member, mostly AoE-type abilities for maximum damage, and stuck with those through the entire game. I only really used my own pistol barrage ability as well as it was the most useful. Enemies come in usually only three varieties. Easy to kill, medium damage and health, and larger enemies with multiple health bars. The enemies mostly repeat on their respective planets, and then there are the same Promise enemies over and over again. There are a few boss fights thrown in, but they aren't anything unique or special.

It's sad that the combat because a dance of spamming the same abilities from your teammates and running around to stay alive. The fact that you yourself do so little damage is really odd. There are a few other contexts thrown in like a bar under larger enemies' health bar that determines when they are weak. If you spam enough attacks in a row you can then do an instant kill. There are also a few environmental items that you can order teammates to toss around, but it's very underdeveloped and relies too heavily on these fundamentally useless abilities. The fact that there is so much combat in the game can make it feel like it's dragging on far too long and is just there for filler. I much preferred the story elements and more exploration areas than the combat.

The exploration is mostly just running around and listening to the banter of the Guardians but also light puzzles in which you must match the correct teammate's ability with the right obstacle. Gemora can slice things open, Drax can punch through walls, Groot can create bridges, and Rocket can hack panels. There are four weapon elements you acquire such as lightning, ice, fire, and a grapple ability that are used here as well, but it's not rocket science. Again, another idea that is undercooked and felt like filler. I mostly enjoyed the choices you have to make during the story which determines which allies help you during the final events of the game, and the overall voice work and writing are clever, sharp, and really funny. I just wish the rest of the game had the same care attached to it.

That's not to say it's downright bad. The controls are responsive, the animations are smooth and look great, and the combat does work. It's not clunky or a chore to use it's just full of underwhelming features. The various planets you explore are fantastic looking and really draw you in and make you feel like you're in the comics. There are intermissions in between in which you are on the Milano ship and can walk around and explore. There are also easter eggs and lore scattered throughout the game for hardcore fans too. However, the biggest element of all is this enough to warrant sitting through 15-17 hours? If you aren't a huge Marvel, Guardians of the Galaxy, or comic book hero fan then no. I feel like almost 5 hours could have been cut with less combat thrown in and the story does go on and on. It's supposed to as you get a solid beginning middle and end. There's enough run time here to really get you to connect with each character. I didn't finish the game and have no clue about anyone or care about anything like most video game stories these days. It was daring for Eidos Montreal to really push the story run time and allow you to grow with these characters and it paid off.

Overall, with weak and repetitive combat, mostly useless abilities that don't allow for any type of strategy, and a weak attempt at environmental puzzle-solving the only saving grace here are the visuals, story, characters, and voice acting. I played this game all the way through because I wanted to see and hear more. It was highly entertaining, but every time I went through a chapter full of nothing but combat I grumbled and just wanted these parts over with. I then enjoyed exploring various planets but got annoyed with the poor attempt at puzzles. If the combat was cut way down and the puzzles were cut out we would have had a perfect run time of maybe 10 hours and the weakest parts less apparent.