Heather Alexandra
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Writing For
KotakuLatest Reviews
2016’s Doom reimagined the classic shooter into a frantic but modern mold. The bloody escapades of the Doom Slayer were rife with bullets and guts. It was a grimy video game hamburger. Doom Eternal is bigger and bloodier, almost to the point of excess. It’s the same hamburger dipped into a vat of delicious special sauce. Except the serving size is so big that it’s hard not to feel a little sick afterwards.
There is no elevator pitch for Death Stranding.
2018’s Monster Hunter: World was a successful update to the long-running beast-slaying series. Fully functioning ecosystems and updated combat crafted an experience where each battle was a unique challenge even after hundreds of hours. World’s latest expansion, Iceborne, is massive. Building up a solid framework, it brings dozens of new monsters and ups the difficulty for a deeply rewarding adventure.
Cuphead turns players into perfectionists. The long-awaited hand-drawn action game is full of cartoony boss battles that demand enough precision and focus that even a single hit of damage feels unacceptable. Playing Cuphead is like a stage performance; every mistake is embarrassing, but the curtain call of each defeated boss is like nothing else.
Devil May Cry 5 is a wild mess of demonic magic, blood, brooding twinks, butt rock music, kung-fu homage, and joyous gameplay. By the end of it, I had killed literally thousands of demons and watched struggles of Biblical proportions. The experience itself is a blur, but I know two things for certain. The first is that while there’s nary a drop of romance in the game, every one of Devil May Cry 5’s sexy trash protagonists has absolutely fucked. The second is that every bone-splintering, blood-splattering moment I spent with them was a goddamn blast.
Assassin’s Creed Odyssey is huge. Each new boundary is broken down the moment you reach it, the game world spilling out and expanding further and further than you can possibly imagine. It is big in the same way the Great Pyramids or Empire State Building are big, the result of untold amounts of labor and artistry distilled into something remarkable yet intimidating. It’s not a sandbox. It is a world, with all of the beauty, anxiety, and inconsistency that entails.
Valkyria Chronicles 4 is a game of extremes. Its romantic attitude towards soldiers clashes with a desire to tell a tale of mass violence and corpse-laden battlefields. It is as intimate as it is loud, and each moment captivates even if the parts are often greater than the whole.
Playing Sea of Thieves feels a bit like working in a theater before the set has been completely built. There’s plenty of space to goof around and a few swords in the wings to have mock fights with, but none of its quite ready for show time. A lack of features and polish has frustrated some players, but those willing to meet the game halfway will discover a game that’s exciting and pensive in equal measure. Sea of Thieves is as fickle and changeable as the sea itself.
Celeste is pure. Each room offers new challenges, but the solution is always the same: jump. Jumping is remixed in dozens of different, exciting ways. Celeste is the very soul of simplicity, and that’s what makes it such a beautiful game.