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one of the best visual novel games out there, the music is a 10/10, writing is an 11/10 but the ending was very sudden, highly recommend
«Blew my mind»
«Can’t stop playing»
First half is one of the best games ive ever played, the minute you get to the ship, stop playing
«Blew my mind»
Best game ever.
You remember in Fallout and Wasteland games where your actions had consequences, people remembered what you did to them and their friends, and the writing made everyone morally grey so that deciding on who to help made you take pause and think for a while before choosing a course of action? The Outer Worlds is such a game.
This game does not shove politics in your face, but takes the time to think a little more deeply about the world. It's not an anti-capitalism screed, as even the arch-capitalists have good qualities to balance out their characters. Spacer's Choice isn't a bastion of freedom, but it's not necessarily a power for evil either. The game's universe is a Feudal society, with the corporations acting as Lords who control the serfs under them and grudgingly accept the free men and women who pad out the world.
It's a game full of shades of grey which offers future gameplay with actual divergent pathways, instead of black marks and gold stars doled out by the game's writers when you follow their arbitrarily decided upon good and evil actions.
You are your own judge, jury, and executioner in this game, as only you are responsible for your decisions in a world where all options are on the table and often morally ambiguous.
This game does not shove politics in your face, but takes the time to think a little more deeply about the world. It's not an anti-capitalism screed, as even the arch-capitalists have good qualities to balance out their characters. Spacer's Choice isn't a bastion of freedom, but it's not necessarily a power for evil either. The game's universe is a Feudal society, with the corporations acting as Lords who control the serfs under them and grudgingly accept the free men and women who pad out the world.
It's a game full of shades of grey which offers future gameplay with actual divergent pathways, instead of black marks and gold stars doled out by the game's writers when you follow their arbitrarily decided upon good and evil actions.
You are your own judge, jury, and executioner in this game, as only you are responsible for your decisions in a world where all options are on the table and often morally ambiguous.
«Can’t stop playing»
It's a good old Ratchet & Clank game well rebooted, the new graphics look amazing and it's very entertaining. It felt kind of short to me.
I know it doesn't feel like a proper Just Cause game, and I know it's aged like a McDonald's milkshake, but it's still a good game and it's only short, so it's worth playing if you want the B-est of B movies.
DrakeWars offers a totally new level of in-game possessions.
https://drakewars.com/
DrakeWars is a browser economic manager in the dark fantasy setting with the elements of selection, collecting and competition.
The platform's key features is that it is the first free economic strategy, where the player is the only owner of the created and won in-game achievements, and is free to use them in any way they want. It means that everything obtained in the game can be: kept, updated and traded – both in the game and IRL!
The plot is set around dragons. Each dragon has a certain value. Players can collect dragons of all available kinds with individual coloring in the style of the elements: air, earth, water, darkness, light, and fire, with different kinds of armor and magical combat features that give the upper hand in the battle.
All the PvP fans will love the Arenas (https://drakewars.com/en/arena), where players will be able to duel with each other for resources and experience that are awarded for winning.
While dueling in the Arena, a dragon has over a billion chances of victory (or defeat).
There's more: dragons can be sent on quests, thus collecting resources and recepes for creating talismans – items that help boost each dragon's body part.
Summing up, DrakeWars offers to the player a unique opportunity to test their economic and strategic skills while breeding, developing and modifying their dragon army.
If you love competition and want to keep everything you got in the game – welcome to DrakeWars. This place is for you.
https://drakewars.com/
DrakeWars is a browser economic manager in the dark fantasy setting with the elements of selection, collecting and competition.
The platform's key features is that it is the first free economic strategy, where the player is the only owner of the created and won in-game achievements, and is free to use them in any way they want. It means that everything obtained in the game can be: kept, updated and traded – both in the game and IRL!
The plot is set around dragons. Each dragon has a certain value. Players can collect dragons of all available kinds with individual coloring in the style of the elements: air, earth, water, darkness, light, and fire, with different kinds of armor and magical combat features that give the upper hand in the battle.
There's more: dragons can be sent on quests, thus collecting resources and recepes for creating talismans – items that help boost each dragon's body part.
Summing up, DrakeWars offers to the player a unique opportunity to test their economic and strategic skills while breeding, developing and modifying their dragon army.
If you love competition and want to keep everything you got in the game – welcome to DrakeWars. This place is for you.
«Can’t stop playing»
«Better with friends»
“The Outer Worlds is great at being good”
Enjoyed it, but won't go for a second playthrough
I have to recommend this game for it's concept alone! Equal parts puzzle arcade game and music maker. You play as a fisherman, who is also a DJ and your job is to catch the "Monomals" - these are little hidden musical creators. Each Monomal you catch is a different sound (drums, bass, lead) that you can use to create music. Finding Monomals isn't as simple as casting a line though. You have to complete puzzles in the form of moving blocks, finding the right paths, and collecting items...all while avoiding the bad guys.
Once you have a bunch of Monomals, you can enter the "Maker" mode. Here you to use the sounds of the different Monomals you've caught via a standard sequencer. The tools are impressive and anyone whose made any sort of music like this will feel right at home. You then compete with other DJ's who are also making songs with their Monomals.
My only gripe is how hot my phone gets when playing. No other game has demanded so much of my iPhone 11 Pro to the point that it gets this hot! Regardless, this is a game you _must_ try if you like making music and collecting animals.
Once you have a bunch of Monomals, you can enter the "Maker" mode. Here you to use the sounds of the different Monomals you've caught via a standard sequencer. The tools are impressive and anyone whose made any sort of music like this will feel right at home. You then compete with other DJ's who are also making songs with their Monomals.
My only gripe is how hot my phone gets when playing. No other game has demanded so much of my iPhone 11 Pro to the point that it gets this hot! Regardless, this is a game you _must_ try if you like making music and collecting animals.
«Blew my mind»
This review is as spoiler-free as it gets. I definitely recommend playing Prey with as little advance information on the specifics as possible, even if some things are obvious from the marketing materials alone.
Arkane Studios has a relatively specific niche; players explore detailed, intricately crafted spaces in a first-person perspective, using a variety of synergistic tools both intrinsic and extrinsic to their character, with a focus on reactivity and a living world. Even though it could be argued that this perception only came about with their first major attempt at it with Dishonored in 2012, effectively giving us exactly one example of their talents in making this kind of game, the pedigree of the creatives who work there and the sheer readiness with which Dishonored embodied and advanced the traditions of other games in that vein solidified their claim to it immediately. The fact that each follow-up to Dishonored (its DLC, and the sequel) managed to equal or even surpass it, was confirmation enough that this was their forte.
Prey, then, was a very interesting case in that it was the first time we'd seen the Arkane style applied to a new world, and though it was clearly still within the same niche, held different goals to the sneaky, magical power fantasy of Dishonored. Developed out of one of their two studios in Austin while the first worked on Dishonored 2 in Lyon, it took on the name of Human Head's 2006 shooter, Prey, as Arkane's parent company (Zenimax / Bethesda) owned the rights to that. I haven't played Human Head's Prey, but it seems apparent that Arkane's Prey doesn't have much in common at all. In fact, I suspect that a working title for Arkane's Prey would have been 'Psychoshock', since it appears to have more similarities with games like System Shock, and others that have adopted the '-shock' suffix.
The differences between Prey and Dishonored, then, are not so much about making a very different type of game as they are about using the same tools to accomplish different things, in a way that mirrors the use of tools in the games themselves. Dishonored's level-based structure uses Arkane's unique talent to develop spaces to give you a whirlwind tour of Dunwall and beyond, presenting the player with levels that provide individual challenges and allow for a self-directed pacing, while Prey's singular, interconnected area can feel cramped, and builds familiarity in a way that isn't present in Dishonored. Dishonored's singular objectives can be approached from a variety of ways, much like Prey, but where Dishonored gives you a single clear point to work towards, and a narrative with a solid structure, your goals in Prey are especially unclear at the beginning, and it takes some time before you have a full understanding of the 'bigger picture'.
These departures from Dishonored are largely because of Prey's different aesthetic goals; Prey begins in a similar state to a horror game, giving you a limited toolset, limited spaces to explore, and a limited understanding of the game's world. It makes you feel these limitations keenly, making a great first impression to work with later. As the game progresses, you start to push back these limits in various ways, exploring new areas with new abilities, until you've finally built yourself a very capable character. It gives the game a more traditional, character-dependent arc, but the consistent introduction of new elements keeps a playthrough from getting stale. These new elements are often very significant departures from one another, instead of just having bigger numbers to deal with, like many RPGs. In these ways, you're less embodying an existing character, like the Royal Protector of Dunwall or an Empress, and more building your idea of who your character is, now that you're in charge. It's a fun sense of progression that manages to keep the adrenaline going through much of the game, supported by the themes of the narrative, and the number of different twists the game's story takes.
The aesthetics bear this out, helping create a space that feels hostile, empty and lived-in all at once. You rarely have much in the way of verticality or freedom of movement, but as you learn the intricacies of the different abilities you have, and develop strategies, you also develop an understanding of the game's setting and location. The game's setting and aesthetics aren't just a coat of paint on top of the blocks making up a level, the architecture provides reactive elements and wildly varying structure to individual moments of gameplay. They're not just beautiful spaces, they're beautiful interactive spaces, that breathe history. The game's setting is fun to move around in and explore physically, sure, but it also rewards you for developing familiarity and understanding of what this place was, who lived in it, and what happened here.
A number of aesthetic traditions carry over from other Arkane games here beyond that. The game has plenty of diverse bodies in it, more than just depicting characters that belong to various different ethnicities. The protagonist's gender can be selected, and multiple queer relationships exist in the game. Music and sound is a high point, capturing a variety of emotions ranging from retrofuturistic hopeful sci-fi, to creeping dread, to the totally alien. The voice acting is all superb, and in true Arkane style, the voice credits are always surprising, in that they manage to rope in a handful of notable actors for relatively minor roles. Benedict Wong is an exception, lending his considerable talents to one of the main characters, but there are a couple of others you might've heard of, or seen before. Keep an ear out; or more likely, look at the credits when you've beat the game, and wonder how you didn't recognize the Academy Award winning actor who had a minor role as an sidequest NPC for all of five minutes.
All in all, while Prey owes a lot to its forebears, the inimitable talent of Arkane Studios means that instead of a rote recreation of something we've seen before like System Shock, we get a unique, modern story delivered in lavishly designed visual detail, anchored by some of the strongest emergent gameplay yet designed. Arkane has their niche, but as Prey proves, that's far from a limitation.
If you need more proof of that, Prey's Mooncrash DLC provides a single-player experience that's close to a roguelike, relying even more heavily on the procedural aspects that Prey championed over its predecessors. Where Prey holds the structure of a largely static set of goals, Mooncrash transforms that into an ever-shifting, laser-focused series of 'runs'. It's experimental (to a degree) and a very good time, though maybe not as endlessly replayable as they might have hoped.
Arkane Studios has a relatively specific niche; players explore detailed, intricately crafted spaces in a first-person perspective, using a variety of synergistic tools both intrinsic and extrinsic to their character, with a focus on reactivity and a living world. Even though it could be argued that this perception only came about with their first major attempt at it with Dishonored in 2012, effectively giving us exactly one example of their talents in making this kind of game, the pedigree of the creatives who work there and the sheer readiness with which Dishonored embodied and advanced the traditions of other games in that vein solidified their claim to it immediately. The fact that each follow-up to Dishonored (its DLC, and the sequel) managed to equal or even surpass it, was confirmation enough that this was their forte.
Prey, then, was a very interesting case in that it was the first time we'd seen the Arkane style applied to a new world, and though it was clearly still within the same niche, held different goals to the sneaky, magical power fantasy of Dishonored. Developed out of one of their two studios in Austin while the first worked on Dishonored 2 in Lyon, it took on the name of Human Head's 2006 shooter, Prey, as Arkane's parent company (Zenimax / Bethesda) owned the rights to that. I haven't played Human Head's Prey, but it seems apparent that Arkane's Prey doesn't have much in common at all. In fact, I suspect that a working title for Arkane's Prey would have been 'Psychoshock', since it appears to have more similarities with games like System Shock, and others that have adopted the '-shock' suffix.
The differences between Prey and Dishonored, then, are not so much about making a very different type of game as they are about using the same tools to accomplish different things, in a way that mirrors the use of tools in the games themselves. Dishonored's level-based structure uses Arkane's unique talent to develop spaces to give you a whirlwind tour of Dunwall and beyond, presenting the player with levels that provide individual challenges and allow for a self-directed pacing, while Prey's singular, interconnected area can feel cramped, and builds familiarity in a way that isn't present in Dishonored. Dishonored's singular objectives can be approached from a variety of ways, much like Prey, but where Dishonored gives you a single clear point to work towards, and a narrative with a solid structure, your goals in Prey are especially unclear at the beginning, and it takes some time before you have a full understanding of the 'bigger picture'.
These departures from Dishonored are largely because of Prey's different aesthetic goals; Prey begins in a similar state to a horror game, giving you a limited toolset, limited spaces to explore, and a limited understanding of the game's world. It makes you feel these limitations keenly, making a great first impression to work with later. As the game progresses, you start to push back these limits in various ways, exploring new areas with new abilities, until you've finally built yourself a very capable character. It gives the game a more traditional, character-dependent arc, but the consistent introduction of new elements keeps a playthrough from getting stale. These new elements are often very significant departures from one another, instead of just having bigger numbers to deal with, like many RPGs. In these ways, you're less embodying an existing character, like the Royal Protector of Dunwall or an Empress, and more building your idea of who your character is, now that you're in charge. It's a fun sense of progression that manages to keep the adrenaline going through much of the game, supported by the themes of the narrative, and the number of different twists the game's story takes.
The aesthetics bear this out, helping create a space that feels hostile, empty and lived-in all at once. You rarely have much in the way of verticality or freedom of movement, but as you learn the intricacies of the different abilities you have, and develop strategies, you also develop an understanding of the game's setting and location. The game's setting and aesthetics aren't just a coat of paint on top of the blocks making up a level, the architecture provides reactive elements and wildly varying structure to individual moments of gameplay. They're not just beautiful spaces, they're beautiful interactive spaces, that breathe history. The game's setting is fun to move around in and explore physically, sure, but it also rewards you for developing familiarity and understanding of what this place was, who lived in it, and what happened here.
A number of aesthetic traditions carry over from other Arkane games here beyond that. The game has plenty of diverse bodies in it, more than just depicting characters that belong to various different ethnicities. The protagonist's gender can be selected, and multiple queer relationships exist in the game. Music and sound is a high point, capturing a variety of emotions ranging from retrofuturistic hopeful sci-fi, to creeping dread, to the totally alien. The voice acting is all superb, and in true Arkane style, the voice credits are always surprising, in that they manage to rope in a handful of notable actors for relatively minor roles. Benedict Wong is an exception, lending his considerable talents to one of the main characters, but there are a couple of others you might've heard of, or seen before. Keep an ear out; or more likely, look at the credits when you've beat the game, and wonder how you didn't recognize the Academy Award winning actor who had a minor role as an sidequest NPC for all of five minutes.
All in all, while Prey owes a lot to its forebears, the inimitable talent of Arkane Studios means that instead of a rote recreation of something we've seen before like System Shock, we get a unique, modern story delivered in lavishly designed visual detail, anchored by some of the strongest emergent gameplay yet designed. Arkane has their niche, but as Prey proves, that's far from a limitation.
If you need more proof of that, Prey's Mooncrash DLC provides a single-player experience that's close to a roguelike, relying even more heavily on the procedural aspects that Prey championed over its predecessors. Where Prey holds the structure of a largely static set of goals, Mooncrash transforms that into an ever-shifting, laser-focused series of 'runs'. It's experimental (to a degree) and a very good time, though maybe not as endlessly replayable as they might have hoped.
«Underrated»
This is a well made pinball game with rpg elements. You play it like a standard game of pinball. Simply press on the left or right side of your device to trigger the respective flipper and hit the ball. Your "pinball" is a cute little wizard character who levels up as you progress through each of the games levels. Along the way you'll earn skills that enhance the experience like blocking the center hole, multi-ball style gameplay, etc.
The game is fun to pick up and play but boring to progress through. The randomness of a game of pinball quickly leads to frustration because the physics don't work like a standard pinball game. I wanted to like this game! Unfortunately I can't recommend it.
The game is fun to pick up and play but boring to progress through. The randomness of a game of pinball quickly leads to frustration because the physics don't work like a standard pinball game. I wanted to like this game! Unfortunately I can't recommend it.
«Boooring»
This game attempts to do a lot of things...unfortunately it isn't _great_ at any of them. On iOS the controls are average at best. Shooting and passing are simply aim and tap but changing players is painfully difficult. (This makes defending nigh impossible.)
You can earn new players in the form of cards which you use to build your ultimate team. A familiar concept in the pay-to-win style of soccer games that litter the App Store, but a swing and a miss for the Apple Arcade platform in general.
You can earn new players in the form of cards which you use to build your ultimate team. A familiar concept in the pay-to-win style of soccer games that litter the App Store, but a swing and a miss for the Apple Arcade platform in general.
«Game over at last!»
yo i dis illegal or something idk but i dont speak russian and you proberbly dont speak english
«I could make it better»
One of the better recent lovecraftian-themed games released recently. The game contains a few well done puzzles, some cheap jump scares and lots of walking around to advance the plot. Not an exceptionally good game, but recommended for those interested in the themes.
My favorite game of all time
At first, Momodora RUTM may seem like a linear Metroid game with somewhat stiff controls but is until you clear the tutorial area that this game truly starts to shine.
The game is roughly 6 hours and you barely feel them, once you enter the main area, the map is for you to explore at your own pace and way, once you enter an area there is some lore and NPCs to encounter and rapidly face a boss, it is fast and that is one of the strengths of this game, it doesn't waste its or your time. The world is charming and sad, merge that with a simple but beautiful art style and music and you have a solid game. As far as gameplay goes, it is simple but effective, you only have one weapon and one combo but you have to dodge a lot in order to evade attacks, which can be very punishing, so the challenge is good, at least in normal difficulty. The story is told in a similar fashion as the likes of Dark Souls and Bloodborne and it's pretty effective, although the sad mood of this game is at times accompanied by some silly and charming moments, so it's a little lighthearted at times, a welcomed thing
They were certain moments which I won't spoil, but I didn't expect to be this effective, particularly with one of the bosses, it was outstanding, speaking of bosses, they can be challenging but at times you can cheat a little with the equipment you get and broke the game if only by moments, is not that bad but it feels a little safer than it should.
I can't recommend Momodora 4(?) enough, its developers deserve a lot of praise and a lot of money, I can only imagine what these guys can do if they only have the budget.
The game is roughly 6 hours and you barely feel them, once you enter the main area, the map is for you to explore at your own pace and way, once you enter an area there is some lore and NPCs to encounter and rapidly face a boss, it is fast and that is one of the strengths of this game, it doesn't waste its or your time. The world is charming and sad, merge that with a simple but beautiful art style and music and you have a solid game. As far as gameplay goes, it is simple but effective, you only have one weapon and one combo but you have to dodge a lot in order to evade attacks, which can be very punishing, so the challenge is good, at least in normal difficulty. The story is told in a similar fashion as the likes of Dark Souls and Bloodborne and it's pretty effective, although the sad mood of this game is at times accompanied by some silly and charming moments, so it's a little lighthearted at times, a welcomed thing
They were certain moments which I won't spoil, but I didn't expect to be this effective, particularly with one of the bosses, it was outstanding, speaking of bosses, they can be challenging but at times you can cheat a little with the equipment you get and broke the game if only by moments, is not that bad but it feels a little safer than it should.
I can't recommend Momodora 4(?) enough, its developers deserve a lot of praise and a lot of money, I can only imagine what these guys can do if they only have the budget.
«Just one more turn»
«Can’t stop playing»
I have a hard time with RPGs because many mistake lore and tasking for narrative. Knights of the Old Republic did not exhibit this problem. In that game, conversations with NPCs were nuanced & vital to the experience. The Outer Worlds looks great and plays well, but it is so over-encumbered with vapid conversations, that it really hurts the experience.
The visuals are amazing, as usual: UI, art style, NPC design, town design... In terms of gameplay, there's nearly nothing. The cutscenes that used to be only at the beginning of a Pokémon game, now they're all the time. The whole game feels like a tutorial. There's no challenge anymore because every situation that would be risky (like fighting many trainers in a row), has the risk removed by getting your team healed between each trainer, by telling you hints on how to win, etc. It's extremely handholding, which is the main issue. It lacks the freedom and sense of adventure that Pokémon has always had until gen 6. In a few words, it's "Press A to win".
There also some improvements, like new items that are useful for the competitive scene, to facilitate having a pokémon with the perfect stats for battling.
It's a shame that for every improvement, there are 10 downgrades. The game as a whole is deceiving, shameful considering where it comes from.
«Disappointment of the year»
«Waste of time»
After jumping on in the game, the first thing that you'll do the next is pick up an NPC and take them to their destination, find another one and repeat forever and ever, the challenge is that you have a timer that keeps going down, you'll earn some time every time you "deliver" an NPC to their destination, the faster the better. So Crazy Taxi it's a pretty straight forward arcade game, and is up to you to decide when to quit it, this version has a mode in which you can complete several challenges, like jumping certain distance with your car, they're uninteresting, to say the least, but after that, is only you and your ability to deliver NPCs. The controls are OK, but it has an awful reverse system that works more like a real car and also has some delay, so it gives you a lot of annoying moments.
Crazy Taxi can be fun if only for brief minutes, maybe if you're an arcade lover maybe you'll find some worth in this game, but definitely is not for everyone and it can be boring pretty quickly.
Crazy Taxi can be fun if only for brief minutes, maybe if you're an arcade lover maybe you'll find some worth in this game, but definitely is not for everyone and it can be boring pretty quickly.
«Waste of time»
«Boooring»