The original Serious Sam became an unexpected hit when it received the approval of Old Man Murray. While other games were trying to be dark and mature, Serious Sam reveled in pure, goofy run-and-gun action. It was like Duke Nukem if it was made by a backwoods folk artist. This sequel is somewhat of a technological upgrade, but the art design still looks like the work of someone just learning how to use 3-D Studio Max, and that is the game's charm. The enemies range from run-of-the-mill space marines to exploding clowns to giant cigar smoking mechanical T-rexes.
Video Game Reviews
Here's where I keep track of video games I have played. I rate the games on a scale of 1 to 10 with 10 being "highly recommended" and 1 being "forget this game and go read a book or something."
Well, this is a Zelda game. The formula has remained unchanged ever since The Ocarina of Time. The princess has been abducted and you must work your way through the various dungeons one-by-one, collecting a new power in every dungeon. Each game in the series introduces a new game-play element. In the case of Skyward Sword that is its (supposedly) precise motion controls.
Skyward Sword requires the use of the Wii MotionPlus controller. While it's definitely an improvement over other games that have tried to use the standard WiiMote as a sword, you still end up just flailing your arms like an idiot. The key here is to realize that the game is forgiving enough to allow you actually to take your time and be precise for many of the bigger battles.
All these Ubisoft open-world games (Assassins Creed, Watch Dogs, etc.) follow the same basic formula. Main story which you can take your time completing, lots of side activities and missions, and collectible stuff that gets you nothing in the end. Each is enjoyable up to a point, but then they wear out their welcome and become tedium. But despite the flaws, I genuinely enjoy the Far Cry games. I am a sucker for the FPS/stealth mix in which you can approach any conflict from a large number of paths. Each outpost I conquer without tripping the alarms feels like a real achievement.
The only thing this game has going for it is its art direction. There's some wonderful hand-drawn characters and evocative music. However, like a Doublefine game, this one is all style and no substance. The highlight is supposed to be the various boss battles in which you spend a ton of time chopping at these giant character's heels. Every swing of your axe removes about 1% of the enemy's health. It's just an exercise in tedium. The controls are sluggish and un-responsive . It's like fighting in a bowl of molasses.
The first few hours of Alien: Isolation are some of the most nerve-racking gaming I have ever experienced. It's a stealth game in which you are mostly defenseless and must hide to survive. There's no sneaking up behind enemies and stabbing them in the back. The enemies aren't just some dopey guards walking in a set pattern that you are trying to avoid. It's one of the most menacing monsters in cinema history. One wrong turn or overly loud noise and you are facing its dripping double jaws in seconds.
In the 90s, I tried playing the demo of this game many times and could never really get into it. Crusader was one of the best looking PC games of its time and I really wanted to like it. But the controls. Oh my God, the controls. Eventually, this scheme would go on to be described as tank controls in other games like Resident Evil. Basically, you aim and move your character in relation to the direction their sprite is facing rather than the direction you want them to move on the screen. Crusader takes that counter-intuitive mechanic to a whole new level of complexity by adding jumping, diving and ducking to the mix.
There are some default mouse controls which almost work, but your character is stuck with gun drawn, shuffling around like a man with his pants around his ankles. I got about a third the way through the game doing that until just gave up and set the game aside for a while. Months later I returned and forced myself to learn the standard keyboard controls. These are still clunky, but with practice and a lot of help from the auto-aim feature the game becomes much more fast-paced and responsive. Even then, the mouse is still helpful when the occasional fast-spinning aiming is required. For the most part, it pays to just bite the bullet and learn the keyboard controls. Think of Crusader like Mavis Beacon Teaches Typing but with more explosions and incinerated humans.
Vanquish is a third-person action game that has little to offer in terms of plot or characters. Its story feels like every other Japanese console game. Devil May Cry 4 comes to mind, and if you liked that game, you have a problem. The dialogue is all painfully cliché and tries very hard to be hip with nerdy allusions to action movie lines and bad-ass hero shots. Pretty cringe inducing.
But all this is moot. This game is really about its fast-paced game-play and mechanics. While certainly not revolutionary, the ability to skid around the map at hyper-speed is fun and challenging. Add on top of that a little bullet-time and you have an enjoyable but mindless way to pass a few hours.
With the completion of VI, I'm getting close to having played all the games in the Ultima series. I own boxed copies of the Apple ][ versions of III–V, but when it came to VI, Origin switched to MS-DOS. In 1990 I was starting college, I didn't own a computer, let alone a PC, and, as the years passed, history became legend, legend became myth, and for two-and-a-half thousand years, the Ultima series passed out of all knowledge... or something like that.
In the late 90s I upgraded from an Apple IIgs to a Windows 95 PC and was reintroduced to the series via a soundcard bundled version of Ultima VIII: Pagan. That game was mediocre at best and it didn't finish it until years later—after I having played through a CD-ROM Classics version of Ultima VII. VII was a pain to get running on a Windows machine, but it was worth it. It truly is the precursor to modern, open-world RPGs like Skyrim in both its scope and richness of detail.
The False Prophet almost achieves the level of refinement that Ultima VII boasts. It's not quite there yet, retaining a bit of the Apple ][ era feel. Maybe that's why I think I liked this a bit more than VII. It doesn't try to hide the fact that it's a game. The interface takes up half the screen, there are a dozen or so unique commands (like a LucasArts point and click adventure), and there still are actual RPG elements like leveling-up and turn-based combat.
At this point I think we can all basically agree that every game that Wadjet Eye releases is going to be worth buying right away. This is Dave Gilbert's first game as lead designer since Blackwell Epiphany. There is overlap with the Blackwell universe, but it is definitely a departure from those games.
Possibly taking a lead from Telltale, there seems to be a more deliberate attempt to make your choices affect the story. This manifests itself first in that you choose one of three origin stories for your player character. Then, throughout the game, each chapter ends with you deciding the fate of an adversary. The consequences of your decisions don't really ripple throughout the game. They mostly affect the end-game sequence. Still, it's a worthy attempt at adding a little variety to the experience.