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The first time I saw Super Mario 64 it was a revelation. Many years passed and I did not think such a revelation was possible anymore. Super Mario Galaxy was another.
I wish I could say I enjoyed Return of the Obra Dinn as much as other players. There's definitely an innovative core here - how many games have you viewing the moment of someone's death and attempting to piece together context with no hinting to confirm when you're getting close? RotOD will feel favorable to many people who feel detective games barely request any intelligence of the player ("Which was the murder weapon? This piece of testimony, the bag of gummy bears, or this bloody knife?") I can also say that the old MacOS style graphical filter did more to give the game a unique look than harm it. But I definitely feel like there's problems here for a game that finally learns to ask a lot of you as a detective.
The biggest problem at work is one of pacing. The game outwardly reveals the manner of death of a person, and their killer's face, as soon as you find their body. This normally follows with a timed/forced sequence leading to the reveal of another body via that flashback; sometimes multiple times in a row, leaving no time for you to parse the clues you're being given. This can be exciting, discovering what sorts of unexpected events lead to someone's death, but as soon as you have seen these scenes and are handed the notebook to get to work, that's when the game kind of drops off in interest.
You've been shown these interesting turns of events, and then your only task is to place the name, rank, and method of death of the person you found. There's no questioning of motivations, no reveals about how things actually happened, and generally except for one or two scenes no hints at a deeper lore than "These people tragically died to freak occurrences"; and you're not even asked about these curious elements when they're shown. Names to faces - that's all you're ever doing.
This can be tricky at times, reliant on finding someone's name being mentioned in a sparse scene earlier, or making inferences based on ship role (or worse, race assumptions). Far too often it seems to rely on process of elimination among a certain crew rank, or on knowledge not easily identified from within the game (my game had glitches with alt-tabbing to make this worse). But you can safely know the whole time that you're not going to earn any more interesting twists or reveals besides whatever invented lore you can write onto fanfiction.net.
I think I could understand how someone especially clever might feel Ace Attorney's formula of finding contradictions in statements can be sometimes too easy, but I think while Obra Dinn's core mechanic has more innovation and difficulty to it, it's ultimately not very satisfying. Seeing the "Three more names correct!" notification and a very slow progress bar on the overall completion felt far less compelling than others.
The game for some bizarre reason gives you a pointless option to voluntarily have a "bad ending" when you're midway through, and I took this as an invitation to say I'd had enough and that this wasn't any fun. The woman who contracted the journal's completion couldn't pay me enough to finish this work.
I will maintain that the Wolfenstein series by Machine Games are the best shooters out there. They are certainly my favorite shooters. Though chronologically proceeded by Wolfenstein: The Old Blood, in terms of the order of the franchise, this game technically came out first with The Old Blood being a standalone prequel game. So obviously this game put forth the groundwork that The Old Blood and future installments of this franchise will and have built upon. The game picks up after the events of The Old Blood, with BJ and the struggling Allies attempting a last ditch effort to stop the Nazi war machine. However things don’t go the way they were intended and ultimately the Allies lose the war. BJ wakes up in 1960 to a world controlled by the Nazis. BJ must find the resistance and fight to take back the world from the Nazis. The game embraces the absurd both in story and in gameplay and mechanics. It takes so many points from Quentin Tarantino (Inglourious Basterds) but it also feels organic from this team. I am a sucker for alternate history to seeing the Nazis rule the world (as disturbing as it is) is a cool setting to place a narrative let alone a video game in. The characters in the game are fantastic and each have their own unique personality and quirks that you can pick up on. There are a few historical allusions and historical figures in the game. The game is an exaggeration based largely upon the very concepts and reality of the Nazi party. So in extension, the gameplay and violence is also exaggerated. The game stresses your weakness and the overwhelming nature of the enemies before you. But at the same time, the game is a “heavy game” in as far as gunplay and weapons are concerned. It’s all about obliterating and destroying your enemy using their own awesome and destructive firepower. The lack of a multiplayer element to this game is so enjoyable. The aesthetic and world is so surreal and effectively presented ( I don’t want to say beautiful as we are dealing with a world ruled by a totalitarian murderous regime, but the game presents things in a way that draws you in to it all.). There is a lot of world building and references to events that really help establish this bizarre world through readable items throughout the game.The music is very bombastic and sounds more modern than period appropriate, but you’re butchering, maiming and killing Nazis…..the heavy metal score is right at home in that environment. One of my favorite games and one of my favorite series to play.
Rating 4.5/5
Rating 4.5/5
«Blew my mind»
«Can’t stop playing»
The Last Of Us is unique to this day. It is a game with singular focus and grace. Gameplay is the tool by which you uncover the story. It left me with renewed hope in video game narratives, and impacted me personally.
A beautiful experience which tries to make you hate it every step of the way. In the end, the beauty wins out, but along the road there will be many times when you want to throw your controller at the screen.
There are moments when you forget that Trico is motivated by a sequence of algorithms, and seems to be controlled by its own desires and evolutionary responses. In these moments, you'd be forgiven for believing that Fumito Ueda and team have somehow and forever changed the landscape of gaming. The rest of the game is trying to kill that belief.
There are moments when you forget that Trico is motivated by a sequence of algorithms, and seems to be controlled by its own desires and evolutionary responses. In these moments, you'd be forgiven for believing that Fumito Ueda and team have somehow and forever changed the landscape of gaming. The rest of the game is trying to kill that belief.
Possibly not only one of the worst games I've ever played but also worst movies I've ever seen.
Such a fun experience but not without its bumps in the road.
Another fantastic game that is sadly too short and let down to the conclusion of the series.
Amazing game, one of my best.
It is so much fun to play together! There is so much to do and the mods are incredible. 10/10
Surprisingly fun.
I bought the bundle because I like minimalist games.
The graphics could have been more lively but the gameplay is on point. It has a good challenge and every time that it seems like the levels were getting too hard, it was introducing new mechanics and decreasing the difficulty until the player gets used to them.
A pretty fun experience. Just screw the last level damn it! Music was also dope even though sound effects were lacking a bit.
This review goes for all in this series.
The games feel like basic point and click adventure games. Not chock full of substance but enjoyable if you already like the cartoons and The Brothers Chaps' sense of humor. Not too much replay value once you've seen all the jokes and gags. If you remember Homestar, have some extra cash, and have a free afternoon I'd say check these games out. If you don't care about/ have never seen the cartoons then you won't get much out of it.
The games feel like basic point and click adventure games. Not chock full of substance but enjoyable if you already like the cartoons and The Brothers Chaps' sense of humor. Not too much replay value once you've seen all the jokes and gags. If you remember Homestar, have some extra cash, and have a free afternoon I'd say check these games out. If you don't care about/ have never seen the cartoons then you won't get much out of it.
Pretty good if you like micromanagement games. The game has a suggestive premise but not no actual pervy images outside of the loading screens. If that's what you're hoping for then I'm sorry it's not here. I don't remember how I got it. I think a friend gifted it to me. Either way, I'd recommend it if you like cute girls, nice music, and a lot of clicking.
The series changes from action to horror in this entry that throws fast enemies at you in cramped areas, but the slow clunky controls from Dead Space 2 remains. A great example of incompatible design choices
The rich building system and fun but challenging flight system can't save this game from being a
monotone experience set in a lonely world despite its size
monotone experience set in a lonely world despite its size
A minimalist dark side-scroller with constant atmospheric flow uninterrupted by annoying confusing story,
and packed with smart but beatable puzzles. Fine European art!
and packed with smart but beatable puzzles. Fine European art!
«Time-tested»
Graphics pretty bad, architecture is fine, but characters are really bad, especially in a cutscenes, looks very outdates. Gameplay feels outdated as well, like old castlevania, yes, but it became very boring after an hour. Controls are not tight and it feels like there is a big input lag(PS4 pro).
Brain Age is entertaining at the very beginning, I was really into doing my brain age check (3 random exercises that put your brain to the test and depending on your skill it gives you a score), you can see results even the second day of your check, and that's kind of promising, the thing is that current studies say that still there's no real evidence that you gain something by playing this kind of games so lets you get that aside.
Gameplay wise, the puzzles are fun at least when you start the game but they became repetitive really quickly, also I don't know if it was just me or my 3DS but I had a hard time when it came to registering my voice or writing letters, so at least a third of the puzzles malfunctioned on my "playthrough". It's hard to recommend Brain Age, its a game for quick plays and time passing, it starts fun but ends like a chore, kind of.
Gameplay wise, the puzzles are fun at least when you start the game but they became repetitive really quickly, also I don't know if it was just me or my 3DS but I had a hard time when it came to registering my voice or writing letters, so at least a third of the puzzles malfunctioned on my "playthrough". It's hard to recommend Brain Age, its a game for quick plays and time passing, it starts fun but ends like a chore, kind of.
«Buggy as hell»
«Waste of time»
Avalanche will always contain a special place within my heart. Just Cause 3 is one of my favorite games of all time with over 100 hours and three 100% playthroughs logged on Steam, and Mad Max was my first introduction to their magnificent, gorgeous, sandbox worlds. This was one of the earliest games I played on my PS4, and I played it some small amount of time after playing Arkham Knight for the first time. It's certainly reminiscent of that signature Arkham-style combat--it feels a lot more brutal and grounds Max in a more realized world. Getting surrounded by enemies can become terrifying as you're overwhelmed by grunts with hefty weapons. Tools like the shivs and shotgun allow for slick, vicious takedowns without over-complicating the combat with numerous gadgets and moves as in Arkham. I felt like blocking or countering was pretty stuttery and unforgiving, however, this encouraged me to play a lot more aggressively--instead of countering or blocking, I would simply beat-down an enemy before they could strike me.
Car combat is a beast within and of itself. The dogfights, convoy chases, and cacophonous arena fights illuminate the game's pacing by providing some of the most exciting fights in any game I've played. You are *always* given the opportunity and viability to take on multiple vehicles. The Magnum Opus is fitted with its own suite of weaponry and the ability to completely customize the car to allow for your specific type of gameplay is amazing. I personally outfitted mine with a really fast engine and slimmed down on accessories to make it faster, and equipped a powerful ram at the front that allowed me to demolish smaller cars with a single nitrous boost. This customization is the heart of the game and completely enables the player to play the way THEY want to play. Max's customization leaves less to be desired, but this isn't really an RPG, so the individual player skill trees aren't really important to my experience.
I think what's so amazing about this game is that it's one of the rare few games where having an empty, sparse, wasteland of an open world excels the gameplay forward to an amazing level. There's moments of calm fortitude where you drive through the ravaged, buried wasteland of an Australia forgotten long ago. These moments are perfectly juxtaposed with the adrenaline-pumping car fights and base takedowns that are frequently scattered throughout the world. Many open-world sandbox games develop this atmosphere of the player being somewhat of a god--Avalanche is no stranger to this, as Rico Rodriguez takes on the role of some immortal, Jesus-like figurehead that swings from exploding vehicle to exploding vehicle, gunning down dozens of fascists as he liberates foreign countries from the hands of dictators. Mad is the complete opposite of this--he's one man against a dangerous world. While the world is trapped inside with Rico, Max is trapped inside with the wasteland. Everything in the game forms some sort of threat, and the minimal resources you have to survive and replenish your health, such as food and water, are not frequently found. Ultimately the game feels quite distanced from many other modern open world games despite following the same formula.
It's no Fury Road in terms of scale, cinematic story, or narrative, but Mad Max still allots the player a ton of freedom in their approach to how they choose to play the game. My main gripe in which the game fails is its lack of an interesting narrative. Pacing is stuttery across the five acts that range from being anywhere from 10 hours to 1 hour. I found myself consistently more intrigued in doing side content or "flattening" the world by checking off markers across the map than I did in continuing the story. The lack of mission diversity is a huge problem here, and the game often requires you to complete a certain amount of open-world activities before continuing the story. It's that lack in freedom for story progression that hurts the game, as the freedom within gameplay is so counterintuitive to it that you encounter these weird progression locks that prevent you from moving forward.
I did, admittedly, love the idea of having different strongholds across the world that you could upgrade. This provided more motivation for doing side activities, as I could collect scrap or materials that I could then use to build permanent upgrades such as canteen or gas refills. I felt like the game was always rewarding me for doing extra content instead of just checking things off a list. Ultimately, this is a very interesting and fresh open world game that manages to make the constantly retreaded Far Cry-esque formula more enjoyable to play. If you're looking for a liberating open world sandbox, or a game with truly MAGNIFICENT vehicular gameplay, or simply another game to scratch that Arkham/Shadow of Mordor itch, then I'd recommend Mad Max for you.
I'm feeling a strong, decent 7.5-7.7 on this game.
Car combat is a beast within and of itself. The dogfights, convoy chases, and cacophonous arena fights illuminate the game's pacing by providing some of the most exciting fights in any game I've played. You are *always* given the opportunity and viability to take on multiple vehicles. The Magnum Opus is fitted with its own suite of weaponry and the ability to completely customize the car to allow for your specific type of gameplay is amazing. I personally outfitted mine with a really fast engine and slimmed down on accessories to make it faster, and equipped a powerful ram at the front that allowed me to demolish smaller cars with a single nitrous boost. This customization is the heart of the game and completely enables the player to play the way THEY want to play. Max's customization leaves less to be desired, but this isn't really an RPG, so the individual player skill trees aren't really important to my experience.
I think what's so amazing about this game is that it's one of the rare few games where having an empty, sparse, wasteland of an open world excels the gameplay forward to an amazing level. There's moments of calm fortitude where you drive through the ravaged, buried wasteland of an Australia forgotten long ago. These moments are perfectly juxtaposed with the adrenaline-pumping car fights and base takedowns that are frequently scattered throughout the world. Many open-world sandbox games develop this atmosphere of the player being somewhat of a god--Avalanche is no stranger to this, as Rico Rodriguez takes on the role of some immortal, Jesus-like figurehead that swings from exploding vehicle to exploding vehicle, gunning down dozens of fascists as he liberates foreign countries from the hands of dictators. Mad is the complete opposite of this--he's one man against a dangerous world. While the world is trapped inside with Rico, Max is trapped inside with the wasteland. Everything in the game forms some sort of threat, and the minimal resources you have to survive and replenish your health, such as food and water, are not frequently found. Ultimately the game feels quite distanced from many other modern open world games despite following the same formula.
It's no Fury Road in terms of scale, cinematic story, or narrative, but Mad Max still allots the player a ton of freedom in their approach to how they choose to play the game. My main gripe in which the game fails is its lack of an interesting narrative. Pacing is stuttery across the five acts that range from being anywhere from 10 hours to 1 hour. I found myself consistently more intrigued in doing side content or "flattening" the world by checking off markers across the map than I did in continuing the story. The lack of mission diversity is a huge problem here, and the game often requires you to complete a certain amount of open-world activities before continuing the story. It's that lack in freedom for story progression that hurts the game, as the freedom within gameplay is so counterintuitive to it that you encounter these weird progression locks that prevent you from moving forward.
I did, admittedly, love the idea of having different strongholds across the world that you could upgrade. This provided more motivation for doing side activities, as I could collect scrap or materials that I could then use to build permanent upgrades such as canteen or gas refills. I felt like the game was always rewarding me for doing extra content instead of just checking things off a list. Ultimately, this is a very interesting and fresh open world game that manages to make the constantly retreaded Far Cry-esque formula more enjoyable to play. If you're looking for a liberating open world sandbox, or a game with truly MAGNIFICENT vehicular gameplay, or simply another game to scratch that Arkham/Shadow of Mordor itch, then I'd recommend Mad Max for you.
I'm feeling a strong, decent 7.5-7.7 on this game.