A dogged and passionate writer dedicated to efficiency and veracity. There are stories to tell, and I aim to tell as many of them as possible.
With Pyre Supergiant Games, the studio behind 2011’s Bastion and 2014’s Transistor, seems to play with the central conflict of Ray Bradbury’s Fahrenheit 451. Citizens of the game’s Commonwealth who participate in forbidden acts are eternally exiled. Pyre tells the tale of the exiled looking for redemption, a way out of everlasting banishment. While it has the capacity to tell a heartwarming—or heart-wrenching, depending on your point of view—story, it flounders in both setup and progression. ...
Regardless of how we perceive characters, black stereotypes extensively permeate media. From the Black Dude Dies First to the Black and Nerdy to the Sassy Black Woman, and everything in between, on-screen portrayals of black characters lean heavily on tropes that have been ingrained in media since its birth. Abhorrently disgusting and inherently wrong, these spurious portrayals paint black people in ways that are not reflective of the population. It’s discrimination feigned as fiction that wa...
In 1981, an ambitious 26 year old programmer burst onto the burgeoning game development scene with side-scrolling, shoot ‘em up arcade game called Defender. Just a year later, the same programmer, California-born Eugene Jarvis, launched 2D shoot ‘em up, Robotron: 2084. And in the early ‘90s, Jarvis—not Tony Stark’s British AI—released cult classic, twin-stick shooter, Smash TV. It was these three games that inspired developer Housemarque to craft its latest sci-fi, back-to-basics shooter, Nex...
Quentin Tarantino made a name for himself back in the early 1990s with the release of Reservoir Dogs, but the recently released Reservoir Dogs: Bloody Days doesn't come close to reaching the same heights. It amounts to nothing more than a predictable twin-stick shooter that fails to live up to its own potential, let alone the film's, in any appreciable way.
There's no narrative to Bloody Days--no character development to create emotional resonance. The game at large isn't concerned with varie...
Matterfall is another game in developer Housemarque's particle-effect-heavy catalog. Drenched in neon and engulfed in a thumping techno soundtrack, it posits itself as a game for those interested in tackling challenging side-scrolling action and chasing high scores. And while the intense action and pulsating score make Matterfall a thrill to watch, a sloppy combination of mechanics and a few crucial oversights leave this game both disappointing and frustrating to play. Save for a few moments ...
Fire Face Corporation understands the teetering of emotions captive elicits and crafts a beautifully mesmerizing game about the oscillation between the analog and the digital; however, Small Radios Big Televisions is both compelling and disappointing in the same breadth, and this dissonance is palpable throughout its short runtime.
Velvet Crowe, Berseria‘s scantily-clad-revenge-seeking protagonist, is as one-dimensional as protagonists come, and though Bandai Namco attempt to humanize her toward the latter third of the game, teen angst and heavy black eyeliner only goes so far before you start to wonder when she’ll ever grow the hell up. (Thank God most of us have grown out of this phase. Most of us.)
Denzel Washington captures that grit, that raw emotion of a play perfectly in his rendition of August Wilson’s Fences, even if the film still feels like a play.
A Hollow Fragment Of Its Source Material – Sword Art Online: Hollow Realization Review | We The Nerdy
While tantalizing as a thought, the anime began to drag, and the games continued to reinforce the same narrative told in season one of the anime, never bold enough to venture to new territory. Sword Art Online: Hollow Realization, unfortunately, is just that: a hollow fragment of an otherwise excellent series that needs to be more daring in its idea. (A criticism of both the anime and the myriad of games to come out.)
Though the presentation of these themes is tantalizingly sinister at times, the ultimate impact of confronting them is dulled by pervasive storytelling issues and tedious mechanics, making this less an examination of heartbreak and more a tale of monotony.
Tarsier Studios’ Little Nightmares presents us with the third circle of Hell, wrapped into a Tim Burton-esque package comparable to PlayDead’s Limbo or Inside. In Little Nightmares, these nightmares are grotesque and terrifying.
Though Mr. Shifty makes its influences unabashedly apparent, it blends the two so cleverly that is both tantalizing and addictive in a weird, perverse, lemme-punch-one-more-guy-out-the-window kind of way.The result feeds upon our instinctual desire for rabid, frenetic violence.
In a bold move for the family-friendly Nintendo, The Legend of Zelda: Breath of the Wild forgoes handholding in favor of emergent gameplay and player agency, placing Link in an open-world where discovery and mystery are pillars of the experience. While this move harkens back to the NES-era’s The Legend of Zelda and Zelda II: The Adventure of Link, Breath of the Wild has far too many similarities to modern games to feel truly unique, as well as too many obtuse design decisions to be truly satisfying.
Knights, Samurai, and Vikings would have never met. Though existing in approximately the same period, because of boring geographical considerations, these three legendary warriors never had the opportunity to cross blades. Still, that didn’t prevent adolescent minds from pondering the age-old question: Who would win in a battle, Knights, Samurai, or Vikings? This debate pervaded middle school and elementary school history classes, intensified during recess and lunch periods, and exacerbated after school when every youngster acquired a stick to zealously impersonate their favorite faction. (Perhaps this is my own projection of what my formative years looked like, but I’d like to think every child had a similar upbringing.) Ubisoft must have been contemplating this infuriating and intoxicating question as well: For Honor seeks to find the answer, even if there’s no definitive answer and the answer you walk away with may disappoint or excite you.
For Honor — Ubisoft’s forthcoming action, hack-and-slash, multiplatform title — puts you in the armor of ancient, legendary warriors: Knights, Samurai, and Vikings. With several multiplayer betas between its original announcement nearly two years ago and its release in February — and me never getting into a single beta until the final one, thanks to a code provided by a fellow staff member — I’ve gotten the chance to get much needed hands-on experience with the game and its lauded “Art of Battle,” as pitched by the game’s director, Jason VandenBerghe. As the one in charge of the review, and with its imminent release, I want to briefly talk about what it does right and some of my concerns. So, let’s discuss honor in For Honor.