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Expectations breed discontent. Oftentimes no matter how artfully a development team delivers on their original vision, fans will be dissatisfied with the final product. That's not unexpected. But what's frustrating are bandwagoners jumping on this spiraling vortex of Internet backlash against a well-received game by virtue of more in-depth critiques.
The race to pump out compelling, original video content online is in full swing. The time-sucking behemoths known as Amazon, Netflix and Hulu are grappling to see who can first destroy productivity on earth as we know it. With “Arrested Development” looming on Netflix, Amazon has taken the novel approach of presenting eight different comedy pilots for its users to review.
It's sad to admit the extent of my Lucha Libre knowledge comes from "Nacho Libre," Jack Black's stirring tale about a fat cook turned mildly less fat luchador. So I entered the world of "Guacamelee!" expecting a robust education about the world of masked men. From what I've gathered, luchadores can not only enter the world of the dead, but also transform into a squawking chicken.
There’s an odd stench in the air at Sterling Cooper Draper Pryce. No, it’s not the billow of reefer stemming from Don’s creative team. No, that my friends is the debilitating odor of death. The office is no stranger to death, but this season seems a more macabre meditation on mortality.
When I first read “Watchmen” in sixth grade, I enjoyed the mysterious plot and eclectic characters. When I finally read it again in high school, I discovered the deep levels of moral complexity and folly of believing in real super heroes. Playing “Bioshock Infinite” this past weekend elicited the same feelings. While my 12-year old self would’ve enjoyed the bombastic FPS action, my mildly more mature college self reveled in a title rife with nativism, ideological battles and a world almost suffocating in its stark realism.
When Pierce Hawthorne proudly stood before the Greendale student body last season and shouted, “Let’s burn this mother down,” nobody realized the blundering racist was actually semi-prescient. Only two weeks after Pierce’s riot-inducing proclamation, NBC fired “Community’s” creator and quasi-deity Dan Harmon.
More than any other genre, superb action games are analogous with rhythm. At their best, when players are landing a dizzying flurry of combos in a rhythmic trance of gore, action titles generally require several hours for players to grasp the extent of their complex combat systems.
Last year “The Walking Dead” by Telltale Games launched to nearly universal acclaim, garnering many game-of-the-year awards in the process. This effusive praise was warranted, the title belongs in the upper echelon of video-game storytelling. Although I have lukewarm feelings on the game as a whole, this column isn’t meant to be a review.
In the wake of “Mad Men’s” critical success, period pieces on TV became en vogue faster than Don Draper could throw down a bottle of scotch. This wave is fairly ironic considering the paltry but devoted viewership “Mad Men” garners.
Press X to “insert good deed here,” press B to “insert bad deed here.” These boring prompts seem to permeate nearly every genre of game nowadays. The prevailing belief is that if developers add choice, their game will immediately morph into something tasteful that tests the moral fiber of its audience.
Franchises, developers and publishers can all easily disappear in a multi-billion dollar industry. Acclaim was once the cream of the game publisher crop, but they filed for bankruptcy in 2004. Now, in lieu of the recent THQ humble bundle (which allows gamers to name their price for a bundle of a variety of the company’s games) that went online, I thought it pertinent to reflect on this fledgling company that’s losing money faster than Jean Ralphio’s Entertainment 720 on “Parks and Recreation.”
After months of salivating over HD footage of their favorite Nintendo characters, millions of fanboys lined up early Sunday to get their hands on the Wii U. As the first release in the next generation of consoles, (Microsoft and Sony will likely follow suit next fall) Nintendo has a year head start to solidify its software lineup and convince consumers that the Wii U is the must have hardware of the new console lifecycle.
Developers and community leaders broke ground Thursday on the long-awaited $98 million Edgewater redevelopment project.
Few entertainment franchises enjoy the widespread recognition that “Halo” has achieved. The latest installment, “Halo 4,” marks a new era for the series as the first release from 343 Studios, the company charged with taking over for the legendary development studio Bungie. With this impending transition, it seemed like the perfect time to reflect on the history of this incredibly influential video game series.
The idea of combining satisfying first-person melee combat with extensive player choice to accomplish objectives sounds superlative on paper. Yet these two core tenets synthesize the essence of Arkane Studio’s recent release,“Dishonored.” No one ever doubted Arkane’s game had all the elements for a potentially fantastic new intellectual property, all that was left to be seen of these lofty promises was whether they could execute them or not.
As my friend and I were pondering the idea of great video game characters the other night, we both failed to come up with many convincing arguments for any persona in the medium that has absorbed countless hours of our lives. Despite the comparable lengths between television and games, the former has created a multitude of compelling figures while the latter is mired in mediocrity and stale archetypes.
As far as games have advanced in storytelling and acutely/creepily detailed facial animations, there’s an implicit joy in shooting hordes of enemies that will probably never fade away. The first “Borderlands” was built around this almost carnal activity, but its success depended on the utilization of an intuitive co-op system and the addicting search for superior loot.
As with most beloved series, Transformers’ continued popularity depends primarily on the devotion of its initial fan base that emerged with the inception of the series.