Spirit Camera is a horror game that’s not set in some gloomy digital environment, but in your own home; one that tasks you with fighting the ghosts that lurk invisibly in your day-to-day world and which presents you with the mysteries in the ever-changing layout of an actual, physical diary.
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While Uncharted: Golden Abyss is a Vita launch title that feels very much like a launch title and while it’s a fourth installment in its series that feels more like an uncertain first attempt, it’s still Uncharted and that’s really all there is to say, but God knows that won’t stop me from saying more.
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Mass Effect has been a series of tremendous ups and downs, with an unparalleled sense of scale and scope, with incredible moments of drama and tragedy and comedy, with memorable characters and intense action. But it has also been a hallmark of BioWare’s trademark ethical reductionism, a collection of sci-fi and army movie clichés, an assortment of unfocused and clearly made-up-as-we-went-along plots and gameplay mechanics, a fictional universe that still after all this time has a few glaring holes and a quintessence of ambition without modulation.
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Ghost Rider: Spirit of Vengeance hovers between sequel and reboot and can – with some effort – be made to inherit enough of the benefits of both to become a vaguely passable movie.
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Deus Ex is utterly witless, drab and uninteresting, but once you settle into a rhythm it does at least become fun to play.
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Catherine is stylized and bizarre and while the levels have nothing to do with anything, at least they’re not stock beat-em-up or shooter fare.
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First Class is the fifth X-Men movie and the series is still suffering from all the same weaknesses with the inclusion of timely and thrifty modernisms.
Here we have a movie where the gods are gods, where the elements have form and faces and where the extended universe is shown up for the weird wild place that it is.
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The story is unfocused, the world is too small and the gameplay is too repetitive. Dragon Age II is just a decent game, a sequel just for the sake of having a sequel.
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Valkyria Chronicles II is imperfect in such an obvious way that one wonders how it ever got past the planning stages, but it’s solid and thoroughly entertaining for most of its substantial length.
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The Tempest is a great deal of fun – with drama and tension balanced nicely with great humor – but it’s a pale shadow of Titus. Its message is perhaps muddled and it lacks the visual dynamism of Julie Taymor’s previous films.
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Neither sequel nor prequel, Paranormal Activity 2 sort of surrounds the original and so it doesn’t just expand, repeat or continue; rather it reframes Paranormal Activity in a new context.
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While Let Me In is a beautiful and tragic movie with impeccable acting and a great deal of thought and intelligence behind it, it is still just a rehash of somebody else’s work.
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Doctor Who’s fifth season and first transition into a new era is very middle-of-the-road, very safe, very unassuming and – for a series about a time-traveling space explorer – sadly unadventurous.
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Alan Wake doesn’t break new ground or, as its advertising claims, “raise the bar for storytelling in videogames;” but it does offer an exciting, tension-dripping ride through some dark and stormy nights.
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The plot is convoluted and trying to follow any individual thread will lead one into a realm where darkness and madness intertwine, but Iron Man 2 is still an interesting and exciting exploration of what happens when a superhero has one of those days.
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This version of Zack Snyder’s Watchmen is headlined by the director’s cut of the original movie with the Tales of the Black Freighter animated feature edited into the story, but it also includes the Under the Hood fictional documentary, the complete set of motion comics and a digital copy version of the theatrical cut. In essence, this is the quintessential cinematic Watchmen, the Grand Poobah adaptation of Alan Moore’s book. But is it any better than the original release?
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Tim Burton’s adaptation of Lewis Carroll’s classic novels is smart and it’s funny and quirky and weird… but it’s not really Alice in Wonderland.
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While Heavy Rain employs some remarkable ideas in game design, its story is slightly inadequate. With plot holes, ridiculous characters and overly contrived events, it really drags down what could have been the evolution of narrative gaming.
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The Wolfman is competently handled, easily enjoyable and holds a few unique twists. It may not take the original movie’s premise in any shocking new directions, but it likewise avoids many of the other annoying trends of modern horror movies.
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Marvel: Ultimate Alliance 2 seems like at times that it is trying to advance on what was done before, but it ultimately feels less like an evolution of the format and more like a shaky second start.
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Night at the Museum: Battle of the Smithsonian the videogame has managed to defy the immutable laws of gaming and offer a movie-licensed product that is actually not bad. With a healthy selection of simple puzzles and a very forgiving level of difficulty, it provides a nice child-friendly companion piece to a very kid-centric movie.
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Spore is not really a videogame, definitely not a simulation for evolution, but rather an extremely effective and addictive virtual outlet for imagination that will have you adjusting and tweaking your self-made galaxy for hours on end.
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In this latest adventure, the sun shines a fresh light on Sonic with fun, fast and exciting new levels; as night falls, enjoyment disappears and all that remains is stale, by-the-numbers platforming and combat that wear down an otherwise rejuvenated Sonic experience.
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"The Greatest Fantasy Novel Ever! Screw Game of Thrones!"
Available at Amazon
