pulpfuertes
2013
A game that recklessly engages with the impossible through pure Spielbergian bombast, embodied as a cacophonous display of constantly moving variables. Unwieldy in its power and scope but undeniably contains some of the most breathtaking visual/aural spectacle ever devoted to the medium. Despite the Emporia section feeling mostly superfluous, this fixes Bioshock's drab third act dilemma and finds creative ways to open up its combat in a manner that feels intuitive and increasingly chaotic (despite some tiring enemy types). Those looking for concrete answers with its flimsy politics or consistency with its maze like plot logic may as well move on because Levine and his team are more fascinated with how these thematic devices feed into the machinations of an indelibly romantic and contemplative blockbuster mold. It feels boundary pushing in every regard and its a shame its reputation has been diminished over the years. For every bit as brutally wonky and ostentatious as it is, it's just as much genuinely poignant with its fixation on gradual world building from beginning to end. For any misgivings I may have right now its pleasures feel like the stuff of dreams.
Atmosphere and vocal performances by Conroy/Hamill hold up beautifully as expected but level design and enemy/boss dynamics are lacking. However, it's briskly paced and for what it's worth that they made a horror game as a franchise start-up is ballsy as hell.
2007
Really wish the majority of the third act didn't exist. Doesn't quite diminish the sheer intensity and beauty of the world building and the atmosphere it evokes but the overall experience certainly deflates with its blandly visualized final areas (especially following the dynamism of Arcadia, Fort Frolic, and Hephaestus), constant enemy spawns and security bots/turrets and a lack of ammo/health to compensate for the surge in difficulty. One can tell the developers lost a bit of imagination following the iconic twist and it's a shame because this is an otherwise vividly absorbing and horrifying game thanks to the immaculate sound work and environmental design. Awkward combat encounters and bloated third act aside, this is a near masterwork. A game that struggles to find the balance between pleasing FPS fans and those who look for substance but nonetheless a watershed moment for the medium.
2009
Annoying QTEs aside, this is a blast to play co-op. Well paced with dynamic set pieces and Chris/Sheva make for a charming duo. Its the natural evolution of the gameplay style that RE4 establishes and goes deeper with its exploration of ethnic exploitation. Dumbly, but do you expect anything less from this franchise?
2012
Very “New Age” as in its themes play in broad strokes and function through obvious emotional cues but it’s also one of the most beautifully orchestrated games ever made. So... tradeoffs? Equally hypnotic as it is overtly cryptic. Can’t help but feel its value stands as entirely visceral due to this. Not much to ponder after finishing but that's not always such a bad thing when it's this luminous and moving.
2020
Exhaustively excessive. That final third easily could have been chopped in half and the pacing would've been all the better for it. Sometimes bigger isn’t always better even if its innovative systems and enemy varieties are welcomed. Otherwise design of environments and demons is top notch. It’s gorgeously presented and thrilling when it needs to be but overall ill conceived. Feels like too much of a good thing.
Despite some overlong stretches and showing its wear with faulty enemy/friendly AI, still a powerful game with gorgeously pastoral environments and efficient combat. Remains ND’s strongest narrative and character work.