Kurt Of Cambridge

New year, new chance to hope against hope for good things before being crushed by the inevitable heartbreak of video games being a mess right now. In all seriousness, despite how easy it is to be cynical about the state of the industry, I still find value in examining the forthcoming slate of titles and offering my perspective on how much - or little - they have to offer. For today I have elected to pinpoint the five games whose marketing leaves much to be desired. Time will tell if I prove correct in my predictions here, but at this moment these are my feelings as to how entirely not enticing these games appear.  The FIFTH LEAST PROMISING: Dead Space Releases January 27th The Basic Premise: It's the future, everyone's miserable and doing contract work like cracking planets for minerals. One such ship, the Ishimura, goes dark and eventually worries people enough to send a rescue crew to try to fix the situation. Enter the Necromorphs, space zombies of maybe supernatural origin...

When it comes to the Game Awards, there’s an unspoken understanding of how events will progress and how we inevitably will respond. It goes something like this: everyone get hyped up to see their favourite games get a nod (or pissed as hell because something they loved was snubbed), the speculation runs rampant as to who or what takes the prizes for any number of reasons, and then on Award Night we all get worn down by the slow pace of the show itself, the abundance of product placement and advertising, and the growing realization that a lot of awards are destined for the normiest of normie titles that best posture as outsider art. Credit where it’s due, host/showrunner Geoff Keighley and company have this down practically to a science. But if we must engage with the Awards – and barring anything else compelling happening during this mostly frigid, empty, and miserable time of year – then we can at least have some fun attempting to pre-game the show itself. Yes, I’ve decided to partake...

Time Loader builds itself upon a premise that's hard not to empathize with, utilizing the concept of time travel and environmental puzzles as both narrative hurdle and thematic weight. Everything about its construction rings with a certain profound sadness, a longing rarely put to words yet always there, like background radiation.  It is a game about being tied to the past and being unable to escape on every level. That inherent quality, though, begs the question: is Time Loader rooted so deeply to formula and familiar trappings that it cannot also be compelling or profound on its own merits? Do its preoccupations and occasional flaws stop it from going as far with its premise as it intends to? Title: Time Loader   Developer: Flazm Publisher: META Publishing Version Played: Xbox One   Release Date: March 10th, 2022 Note: Review code provided by HomeRun PR, on behalf of publisher When weighing the worth of this game, one needs to take into account that much to its cred...

  As of February the twentieth, it will have been thirty-five years since the release of Konami’s popular run-and-gun title Contra to arcades. The action genre in gaming did not emerge with Contra , but it was helped along by that property as the medium inched ever closer to the new millennium. Though games about muscle-bound soldiers and plentiful gunfire had existed before, the Contra series leaned into the absurdity of the setup while refining and building upon the basics of the side-scrolling action template. So, in honor of this anniversary and the property's significance to gaming, let’s take a look back and see how that beloved title fares now… The Experience One’s experience of the original game’s aesthetic leanings absolutely depends on the version chosen. There’s the initial arcade release from 1987, which sports the more detailed backgrounds and character sprites, and the later edition for the Nintendo Entertainment System (or Famicom, for Japanese players) that simpli...

For a hot second there, first-person action was a dominant, arguably overabundant presence in the realm of gaming. High profile series like Call of Duty and Battlefield set the template going into the 21st century, while lesser known works such as The Operative: No One Lives Forever and Prey explored a variety of angles by which to keep the genre interesting. Not all these works turned out to be winners, but for every few run-of-the-mill projects there was an outlier released between 2000 and 2009 that showed how much further the genre could be taken. So it is that we find ourselves here today, with what I feel are the best and brightest first-person action titles (a.k.a. “First-person shooters” or FPSes) of the 2000s…  The Runners-Up Star Wars: Republic Commando - A very solid bit of grittier-than-normal Star Wars material that actually does well with the infusion of tactical shooter squad mechanics. If it’d been a tad longer and more involved, and perhaps a bit more forgivi...

I'm still cooking up the next new piece, so this week I thought I'd dig through some of my past work and find something that still actually holds up well. The following is a retro review of 2003's Call of Duty , originally written for and published on a previous blog that I created and ran for a number of years. While there may be individual points and observations with which I now disagree or regard in different terms, and while certain details about the wider franchise may have changed in the time since publication, I feel that this is a solid piece from the end of that blog's run and that there's much to be learned from revisiting one's earlier productions.  So, for your reading pleasure (I hope), here goes... When I think about how the first-person shooter has evolved, my first instinct is to turn to Call of Duty . The little-remembered 2003 war epic turned a niche genre – the military shooter – into a full-blown phenomenon, earning millions for publishe...

  I will make no secret of the fact that I do not especially care for the open-world genre. They’re not all bad, and as we’ll get to some can even manage the feat of being palatable to this ol’ grumpus of a person. But in general, yes, I’m pessimistic about the genre, specifically its tendency towards content-for-content's-sake often resulting in bloated, aimless game worlds. That having been said, sometimes a studio comes along to use the open-world mold in order to make something actually quite compelling and distinctive, works that transcend their genre trappings to become something greater. So what are the good ones, according to me? Well…   7. Deadly Premonition I’m not about to act as though Swery - real name Hidetaka Suehiro - is as creatively beyond reproach as he seemed at the time of this strange 2010 cult classic’s release. His work reflects a lot of imperfect or questionably unchallenged views about the world and, in particular, certain marginalized c...