Quarterlies 2005
TomChick - Features - Comments - 01/01/06
10. The Visceral One
America’s Army: Rise of a Soldier
 The last place I expected to find an intense, respectful, and nuanced shooter was a console port of a recruiting tool during an actual war that gives the whole enterprise the mercenary stink of opportunism. But whatever. Scooch over, Tom Clancy.
From my review on Yahoo: It's all very sanitized and quite literally bloodless for a T-rating to ensure that the Army isn't missing the under-16 demographic that might consider enlisting in a few years. But you have to give the developers credit for building into this game a healthy respect for firepower, occasional bits of tedium, and even a reasonable amount of realism. There are still plenty of concessions to gameplay -- you can just ignore the wounded until they magically rejoin you at the next save point, you can memorize when and where enemies arrive, your bullet refills will arrive at certain points come hell or high water -- but I can think of few shooters that capture so well the dynamics of modern combat.
9. The Innovative One
Kirby’s Canvas Curse
 I still go back from time to time to poke around for the medallions I’ve missed. And I’m still surprised at how well the whole idea of drawing lines on the screen works as an interface tool. Hell, I don’t even mind that I can’t find the medallions. I’m have a fine time just looping this little pink guy around the fancy artwork.
From my review on Yahoo: Kirby rolls lazily through the levels, kind of like a slightly sad balloon bled of its helium, drifting along the street with a goofy face painted on the side. Unless you spin him up Sonic the Hedgehog style, he's kind of lame as far as platformer characters go… Who'd have thought such an unassuming little guy would be the star of one of the best Nintendo DS titles available, and easily one of the most innovative platformers you'll ever play?
8. The Well-Written One
Killer 7
 I know Roger Ebert wouldn’t be able to power through this thing, since it’s not much of a game. But if he did, he would find the work of a visionary as powerful, uneven, and haunting as David Lynch, Takashi Miike, and Quentin Tarantino.
From my review in Computer Games Magazine: Killer 7 is told from a strange point of view: Japan watching the United States struggle with religious extremism, elections, and terrorism. There are tweaks at collectible toys, fighting games, and comics, but the real subtext is a dead empire handing the baton to a dying empire. "Listen up, killer," a ghost says, "This country is pumped." When asked what a conspiracy to rig American elections means, the villain replies, "I'm Japanese. How the hell should I know?" only to saunter off and literally sit at the crossroads between the two countries' destruction or salvation. The whole thing is a disconcerting pungent cultural stew that will get bad reviews because it not bound by the simple demands of gameplay or traditional storytelling. It's brilliant and obscure and like all the best satire, you probably don't even know that it's laughing at you.
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