|Child of Eden has all of the colours, all of the sounds, all of the time.|
Last week, not one, not two, but three separate hotly-anticipated sequels to three relatively antiquated titles saw release: the testosterone-laden shooter Duke Nukem Forever (Duke Nukem 3D, 1996), the synaesthesia-influenced Child of Eden (Rez, 2001), and gothic fairytale-retold Alice: Madness Returns (American McGee’s Alice, 2000). All three of these originals share a common trait of having been considered singular at their time of release and yet have made for a combined wait of thirty-six years to finally escape into the market. But was it worth the wait? And is this a sign of a wider, darker trend in games development?