There’s a breathlessness to Resident Evil 3, a genuine urgency to cure Raccoon City of its corporately-induced infection (released by the ludicrously unethical Umbrella Corp.). Everything about Resident Evil 3 surges, desperately pushing toward the solution – a vaccine. It’s nigh impossible to imagine a game more “in the moment” than this, right now. In… Continue reading Resident Evil 3 (2020, Xbox One)
Luck isn’t the right word in context, but fluke fits HyperParasite. As the world endures a pandemic in real life, developer Troglobyte Games launches their game about an alien goo infecting New Yorkers, as healthy citizens do their best to fight back. HyperParasite doesn’t take place in the now, choosing instead the worn ’80s aesthetic.… Continue reading HyperParasite (PS4)
A continent-sized pentagram is charred onto America when Doom Eternal begins. More than Satanic in Doom’s context, it’s symbolic of capitalist aspirations finally conquering us all. Much happened between Doom and Doom Eternal. That story is lost in book-length text logs hidden around levels. Evil won though, and that evil is corporate fealty. While Earth… Continue reading Doom Eternal (Xbox One)
George Lucas based Star Wars’ action scenes on authentic World War II footage. It’s one of Lucas’ subtler ways to make evident the story’s allegorical fascism. Fallen Order takes that further, not in the sense of its long drawn, stifling action, rather the connective narrative tissue around Order 66. In Star Wars lore, Order 66… Continue reading Star Wars Jedi: The Fallen Order (PS4)
Need for Speed Heat’s concept, best guess, came from an older executive who got word that EA’s primary demographic hates cops. At that moment, Need for Speed Heat’s villain became Lt. Frank Mercer, equivalent to Spider-Man’s J. Jonah Jameson in hard personality and ego. Mercer’s face is plastered on billboards across Need for Speed Heat’s… Continue reading Need for Speed Heat (PS4)
Dan Fortesque is no hero. He’s like an office employee who does nothing yet ends up promoted by accident. It’s even worse for Fortesque – he’s just a skeleton. The joy in Medievil is how the design conveys awkwardness. That’s the joke too. It’s wonky and utterly imprecise. Fortesque doesn’t attack so much as run… Continue reading Medievil (PS4)
The Outer Worlds’ ruthless anti-corporate satire goes nowhere. It’s there, written in bold and shouted through non-subtle dialog exchanges, like when rebels wish for all corporations to die. The galaxy’s signage sticks to ’40s era, war propaganda aesthetics, but rather than calling on soldiers, they instead promote employment. The worst thing to be in Outer… Continue reading The Outer Worlds (PS4)
Ninja Saviors does not specify the country being attacked. It’s described as “once great and prosperous” and now, led by a tyrant. Enemies appear decidedly western. In the background? Rows of military hardware primed to strike. On its initial release in 1994, Ninja Saviors Return came after a wave of software championing Desert Storm. Games… Continue reading Ninja Saviors: Return of the Warriors (PS4)
In one of Modern Warfare’s flashbacks, Urzikstan freedom fighter Farah escapes from her town when Russians launch a gas attack. Her father killed, her older brother leading, Farah dodges soldiers as they execute people nearby. Farah is near enough to hear the shots practically point blank. Crawling under a broken wall, a child’s lifeless body… Continue reading Call of Duty: Modern Warfare (PS4)
Ghost Recon: Breakpoint seems anti-conservative. Torture bad, the narrative says. In flashbacks to Iraq, the antagonist played by Jon Bernthal is stuck in the mid-2000s, projecting Bush-era aggressiveness. He’s repulsed by those who won’t abuse prisoners. Protagonist “Nomad” keeps a firm heroic posture in story sequences. Then in-game, Nomad bashes heads in with pistols to… Continue reading Ghost Recon: Breakpoint (PS4)
