Last game you finished

  • Mega Man X7

    This one was rough. I won't spend too much time on it, but it really was a slog to go through. Mega Man X didn't really transfer well to the third dimension.

    X7 is a hybrid of sorts. You have 3D levels that are more like an action game, and 2D levels that try to be a platformer. Neither work well. The way every character moves feels like its coated in tar, and never moves in a convincing way. It always feels like you're fighting for a better speed, and the game wants you to go very slowly. Even things like the dash feel broken, where if you try to do something like dash off a wall, you lose all your momentum midway through the jump. It makes platforming an extremely frustrating endeavor to try to take on.

    Fighting enemies is also just a slow, monotonous hurdle you need to get through in every level. For some reason, the title character Mega Man is not accessible at the beginning. You can be Zero or newcomer Axl. Axl's weapons are so weak that it sometimes takes around 50-60 shots just to take a small enemy down. Zero isn't as bad, and I primarily played with him, but getting close to guys can constantly make you fall on your back, slowing the pace even more. If you want to unlock X, you'll need to go through levels to help the Hunters. They work pretty much the same as previous games, where you'll unlock upgrades depending on who you save. They can also die, so it makes your character's sluggishness all the more noticeable. Get 65 of them, and you'll finally be able to use X, but by that time, your Zero will be so overpowered by comparison because he's been through half the game rescuing guys, it's just a small victory in not having to use Axl anymore.

    Axl and X are necessary though. Through a poor bit of design stemming from the 3d-2d hybrid, some enemies are in the foreground or background, and even in 3D, they're impossible to hit as Zero. They alleviated this by giving the characters with guns a lock-on mechanic, but often there are so many enemies on the screen, it's impossible to aim at the correct guy. In a way, this actually makes the truly 3D parts a better experience to go through because it feels more like an action game. It's almost like the game was designed with the 3D parts of stages designed first, and then forced to put them into side-scrolling segments. Either way, when Zero keeps falling on his back, it still doesn't make it an easy run.

    In the end, it's an appalling decision to lock X away for most of the game. Even when he's not there, upgrades are an absolute chore to find, and the armor upgrade (for X only, and only unlockable when you have him in your party), is a joke. It lets you do a Peter Pan glide that is honestly just a worse movement option than sliding and jumping. Bosses aren't fun to fight because they're constantly in inaccessible parts of the area, the camera can't figure out how to work in 3D or 2D, meaning jumps often end in a spiky death, and the story is just... well, I skipped it.

    There are probably fans of X7, and maybe had I played it when it came out I would have enjoyed it more and been one of them. But as it stands, X7 is like a bad tattoo. It's that mistake we just have to live with, with the story that it felt like the right thing at a different time. A growing pain we can look at, and know that we've grown up past the point of that mistake, and try our very best to laugh it off as a different time in our lives. I love Mega Man. I hate X7.

    Final Score 3/10

  • @happygaming I feel your pain! I had very similar impressions:

  • @axel said in Last game you finished:

    This shit is straight out of Glinny's Cauldron! I was more often than not laughing in disbelief at how bad it is.

    This is honestly, in short, the most accurate bulletpoint I could think of for this game.

  • 159:34:18

  • Mega Man X8

    “Somewhere along the lines, Mega Man fans had to lean on his legacy more than his trajectory; his past more than his future” – Satchell Drakes

    When I put the controller down after finishing Mega Man X8, I was exhausted. At the start, I was bright eyed with being back on a 2D plane, and excited by how much it felt improved from the previous X7. But by the end, the rug had been pulled out from under me. It came with the sad realization that just because the game had fixed one thing from the past, that didn’t mean it was the Mega Man I was looking for.

    X8 brings back the 2D platforming, although the 3D models are left in. I don’t mind this personally. While I’m arguably not a fan of 2.5D platformers, I do think the models are nice to look at. The environments also flow nicely with enemies jumping out of the backgrounds, and elements dynamically moving to make each place feel more alive. The problem comes when you’re moving. While definitely not as egregious as X7, there’s a lack of weight to the way moving and jumping feels in X8 that I never quite got used to. Jumping feels very floaty. Sliding feels like it lacks a continuous momentum. Moving feels the same, and jumping lacks any sort of hang time to make it feel like there’s a sense of control. This could be the reason that I died on the introduction stage of the game, which was not a good premonition of things to come.

    Mega Man X8 uses a ‘retry’ system. Basically, if like me, you were playing on normal, you get two retries. When those retries are up, you’re required to go back to the stage selection or new R&D lab before picking another stage. In the intro level, this isn’t unlocked yet, and so I was required to start the entire game over from the title screen. Later on, this system sort of makes sense, or at least I can gleam what they were going for. Enemies drop a currency when defeated, and the R&D lab is a place where you can spend that to improve your characters, get extra lives, etc. However, I think it’s an enormous mistake to not allow you to just jump back into the stage you’re trying to beat and continue from the start. Instead, you need to go through several extra menus just to start over. And you’ll be starting over a lot.

    Generally, X8 has fine shooting, it feels fine to slash things with Zero. Axl is there if you want to play as him, and he’ll be required for an armor piece or a secret. The biggest problem with X8 doesn’t come from its trying to mimic the blasting from the past, it comes from the level design. Levels are filled with cheap death traps everywhere. Spikes and pits make for a constant need to trial and error through levels, rather than get by through skill alone. Even then, you’ll need some luck. Enemies are extremely unbalanced. Some take away a third or more of your health with a single hit; and bringing back the same issue from X6, enemies drop more currency than anything else, so if you plan on healing, you’re out of luck. Unless you get to the halfway stage portions where you’re locked in a small room and have to kill a barrage of enemies who drop a large sum of cash and give you a single health pickup at the end.

    There’s a snow speeder level where there are several pits that are designed just to kill you deceitfully the first time you jump over it. It’s not a problem of the cueing of the jump, the ledge where you would normally land is just artificially shortened so you’ll fall into a pit the one time. This sort of design is all over the place. In a fire level, you’ll have to stay on rising platforms. If you go too high or fall too low, the screen kills you. Afterwards, there are a series of sections involving spikes. You fall faster than the screen, so you’ll need to die a couple of times to know exactly what falls end in a spiky retry. A lot of this would be alleviated if the game just controlled a little bit better, or if it zoomed the camera out a little bit, but it’s so intent on being up close to you, that you can never really plan to be a master of the jump that’s coming. I eventually turned the game to the ‘Rookie Hunter” mode because I was tearing my hair out, and even then, it didn’t stop me falling on spikes or into pits.

    What do I like about X8? For the first time since Alia came on the scene, you’re allowed to pick between one of three intel professionals. One is a master of boss weakness, one will hint at where armor pieces will be, and Alia is a mix of the other two. If you don’t want to use one, go in without one. I love that. Those armor pieces also bring something I like, that is admittedly flawed in its execution. There are two armors to find in the game, but rather than have to find all the pieces for each to make them individually accessible, X can use the pieces as you see fit and use their benefits as well. So if you want to mix and match armor from both sets, you’re allowed to do that. The problem is that the armor upgrades lack any real sort of benefit beyond a couple pieces that reduce damage or increase the speed of charging. A higher jump makes it even harder to platform, especially with ceiling spikes for instance, and a super laser beam charged gun does less damage than normal and mid charged shots. It is a neat idea, but also robs that sense of accomplishment you get when you’ve completed a new armor set to see what it looks like and what it does.

    The bosses this time around are pretty disappointing and forgettable as well. I do really like the design of Dark Mantis and the Panda dude, but they really aren’t fun to fight. They tend to be invincible for a good portion of each fight, not allowing you to hit at all. It’s probably because you do so much more damage than you would in previous games and it’s used as a tactic to balance it out. In practice it just means you wait a lot, or get your butt kicked when you didn’t deserve it because you weren’t allowed to get a hit in. Still, if you get to the bosses, you’ll generally not have a problem beating them, if you can get through their insufferably difficult, and poorly designed stages.

    One of the coolest additions to the game is the ability to get Zero new weapons. Early on, I got him a spear, and when combined with a spinning air attack, it basically takes up a good third of the screen with an attack you can use as much as you want. I used it constantly until the final boss. It didn’t feel satisfying to use because it was less of a tactic and felt more like I was weaponizing the game’s inequitable design back at it. Mega Man X7 made me very disappointed, and while X8 is an improvement, it made me angry. With all it could have improved from X7, it only did the bare minimum, and takes so many steps back for everything it attempts to change and fix. Deaths feel unfair and unearned, especially in the on rails levels. The R&D lab constantly slows down the pace of the game as you die constantly, and feels like a cheap tactic to force you to buy retries and character improvements rather than upgrade the classic Mega Man way. Bosses feel sluggish and don’t ever let you hit them. And worst of all, moving just feels like you’re never in full control, forcing you to trial and error your way through bad level design. It’s simply not a fun game to play.


  • @happygaming Why do you keep doing this to yourself haha

  • @capnbobamous I wanted to write a podcast episode about Mega Man and franchise's history, impact and current perception and standing and thought it would be good for the firsthand context.

    Don't worry, my girlfriend started something I'm very excited to write a review on next!

  • @happygaming I was looking for my own impressions of X8 to share them with you but looks like I didn't write any. That sums up my feelings about this one: entirely forgettable and pointless.

    If I could direct any game of my choosing, it would be X9. There's so much potential in this series and it's baffling to see how mediocre it became with each new entry. Let's hope that Mega Man 11 was successful enough to convince Capcom to give the series a proper shot again.

  • Detention

    As I crept through the dark creaking halls of the abandoned Taiwanese school as student Fang Ray-Shin, I was reminded that good horror doesn’t come from what you see. True, there are a share of specters and creatures that I’d encountered. What continued to get under my skin wasn’t the fear of death though, but the haunting dread that purveyed from what could have been Ray’s reality. The notes I found, and the hints and prods to the protagonists’ life continued to creep through my mind like a spider, unraveling and revealing the reality of events that transpired as a reminder that some of the best horror is gleamed from reality and everyday life.

    Red Candle Games is a very small studio in Taiwan who have developed only two games. While Devotion has been delisted and made unavailable to the market outside their home country due to a political situation (at least for the time being), their first game, Detention, is widely available and shouldn’t be missed. Set in 1960’s Taiwan in a Martial Law period called White Terror, you’ll play as protagonist and Senior student Fang Ray-Shin, who gets trapped inside her school due to a typhoon. Progressively, reality and the world begin to unravel, revealing a haunting past for the students of the school, and the horrible events happening around the period due to the Martial Law.

    While there is dialogue in Detention, most of the plot and backstory is unraveled through visual metaphors, or what one can gleam from notes found written by other students. Making your way through the hollowed halls of the school that slowly becomes more and more decrepit and bizarre, alluding increasingly to the personal life of Ray, you’ll venture through dark corridors, solve puzzles and avoid Taiwanese spirits as they try to do you harm. For the most part, you’ll spend the majority of your time focusing on the puzzles and directing yourself to where they’ll apply to your forward progression, making a mental map of locked doors and rooms that require your personal input before progress can be made. In these puzzles, you’ll find notes written by students and staff, exploring the sides of people who are trying to read forbidden books, or what forbidden relationships the staff at the school may have, but also showing the dark side of what can happen to those people when the country is under Martial Law. And those political horrors seep deeper than the fear we gleam from the monsters that roam the halls.

    Personally, I wish that these creatures that you avoid were more plentiful. They can be found more in the game’s first two acts, and hardly at all in the third, making it feel like new ones aren’t introduced as plentifully as they could be. While they’re presented meaningfully in the beginning, and you’re taught to avoid them in interesting ways through children’s storybook cutouts with great illustrations, they don’t really evolve from there, making them feel more like an afterthought by the end. Avoiding them (because Ray never acquires any sort of weapon) is still a tense experience, and is always engaging, as they’ll often block your path when you least want them around. You’re taught to hold your breath, present offerings, or to avoid looking directly at them so as to not disturb them. Their sound design is top notch as well, with creaking breaths and deep pulsating drums filling the environment with their haunting presence. Still, their utilization, or more so their lack thereof by the conclusion brings further attention to the events you’re immediately privy to; the abstract psychological horror of the puzzles and of the creeping dread as the story unfurls.

    Detention isn’t a long game. It doesn’t have a large budget written all over it. Characters feel like comic book cutouts, and while art is often beautifully abstract and harrowing, there is a sense that Red Candle is definitely not the largest studio around. Assets have a bit of a cheapness to them, and on PS4, moving left and right (because the game is a side-scrolling adventure) constantly caused screen tearing, and sometimes a rare amount of frame rate buckles. With the tribulations of financial difficulties though comes a unique triumph of heart. Detention feels personal, and it’s incredibly rare to feel as connected to a time and place that you’ve never experienced. I don’t just wish that more games explored periods of history and culture in ways such as this, I wish that horror prevailed in other games of today as much as Detention does. Detention is the best Silent Hill game that’s come out in over a decade, and if we’re lucky, we’ll someday be able to play the team’s other work. Gripes aside, if you’re a fan of horror and have become ambivalent to the genre as much as I have over the last few years because of its overreliance on jump scares, you owe it to yourself to play the creeping, slow-moving, and surprisingly unnerving experience that is Detention.


  • Dark Souls Remastered

    It took me a bit to get used to the 60fps. It's nice for the low input lag and solid performance but it never felt quite right. And when it comes to remasters is a money grab pure and simple, it's worth because From Soft sucks so much technically that they need a current gen system to make it perform well, while making absolutely nothing to the game aside from bumping the resolution up.

    Still the same game with the same wonderful level and sound design. Second time playing it and still discovering new stuff. It is a great game but this remaster is shameful.

  • So, I've finally got to the end of Ghost of Tsushima. I like the game, I don't love it.

    Obviously the presentation is nice, even with the low quality textures the game hides it well with the lighting and particle effects. I imagine that's part of what makes loading times so damn fast, so I'm not complaining that it can look a bit rough if that's the trade off. Still wish HDR was better implemented. But it is a beautiful world to look at, at times obnoxiously colourful and busy but Kurosawa mode was great as a palate cleanser.

    Quest structure, It borrows a lot from the Witcher 3 as secondary quests feed into the main narrative, with betrayal and intrigue in the mix too. At first I wasn't a fan of having them broken in small chapters but overall it works well, specially because they exist throughout the whole game. Can't say that I find the writing that engrossing, or even the payoff of most quest lines that rewarding, but it's fine. It definitely has it's bright moments and its effective in building a solid cast of characters.

    But oh boy, this game pisses me off constantly.

    By the end of chapter 1 my motivation to continue was close to none. I was fed up with the repetitiveness of the combat above all else. It didn't felt great seeing a big new huge territory popping up because of the combat but also because exploration in this world isn't really as rewarding as I was hoping. But as chapter 2 came so a new update to the game with a new difficulty level.

    Things got better, slightly.

    The Lethal difficulty makes the game feel less like Assassins Creed and more like it's own thing. Reaction times become shorter and every strike you deliver or receive matter. It punishes you for making mistakes and, more importantly, Ghost tactics become more of a necessity than just a way to escape the tedious combat. But in the long run it makes little to improve how shallow and repetitive the combat can feel, or how your ability progression turns you into as underwhelming cheese deliverer that you can bring to both common enemies and bosses. Stealth, on the other hand, makes the bad AI even more apparent. Having said all this, the combat is not horrible, just average but very well animated and stylish.

    Style over substance

    This brings me to my biggest peeve with GoT. The world... I know it looks great, and its awesome to go on a free ride and see people working the fields, listen to their conversations. It can feel like you're time travelling. But as hours passed two things were slowly creeping to the forefront of my mind:

    1- (Lack of) Familiarity.

    Skyrim, BotW or RDR2, are familiar worlds, worlds where locations became landmarks and I can navigate them without a map. GoT world design doesn't quite work for me. Having an absurdly tight field of view doesn't help, as you don't have several landmarks simultaneously on your FOV for your(my) brain to naturally map it as you play. Maybe a compass could help. The wind, while a welcomed and innovative navigational tool, can also be disorienting on a grander scale.

    2-(Lack of) Sense of place

    Now allow me to tell you a short story. I was casually ridding my horse, saw an house and decided to check it. It appeared to be empty. As I enter the house and start to loot it I hear a noise . A father and a son were in the house. The father tries to calm the son but the son reacts and pulls for a weapon. On instinct I pull my shotgun and kill first the son, then the father. I stop playing, lay my controller on the sofa and think to myself what the hell just happened?. I walk away from the game for 5 minutes.

    This obviously wasn't GoT, it was RDR2. First because the game doesn't have shotguns second because the world of GoT holds no surprises, no mystery. It feels ancient. Birds animate like robots, dears run blindly against you, struggle with geometry, occasionally stay idle for a second or two. Predators don't surprise and hunt you. Enemy encounters are repetitive to exhaustion, there're no high speed horse chases, no enemies archers waiting for you on top of a cliff, no bandits storming you from a nearby forest. (In fact I had one classic ambush situation where I saw a box abandoned in the middle of a path and I though to my self ah finally the game is going to “surprise” me”. Spoilers I wasn't surprised) There's no emergent situations to remind you that this world happens along with you, not around you.

    It's great that the game looks so good as it does. Great that it has a great photo mode. But the cynical in me would rather have them investing in stuff that's not marketable through screenshots but that could elevate the user experience rather then making of us paying marketing tools.

    Is it a bad game? Do I hate it? No. It's a fine 7/10 game. But I expected more. Coming from TLOU2 didn't help either, the difference in quality is staggering.

  • @phbz said in Last game you finished:

    Coming from TLOU2 didn't help either, the difference in quality is staggering.

    This happened to me with FF7 Remake, it was the first game I played after TLOU2. The quality of TLOU2 makes most good games seem mediocre by comparison.

  • Phoenix Wright: Ace Attorney
    Reviewed on PS4 in the HD Collection

    The cards seem to have been stacked against me. Time and time again, the witnesses’ testimony seems to put my client into a deeper and deeper hole, proving seemingly without any doubt that they’re guilty beyond any reparable state. In my hands I hold several pieces of evidence, collected from my own personal investigations trying to help my client. But those all hinge on one thing; the testimony of the prosecution and the called witnesses. So, I press harder with each statement they give throughout their carefully constructed recount, making them clarify each and every detail that they seemed to have skimped on or intentionally skipped. All their statements causing further complications for the client, whom I’d throw my career down the drain to protect in honor. But then it happens. Their statement doesn’t match up. There’s a contradiction in what they so confidently said, a detail out of place, and I can prove it. I have them clarify once more before jumping to my feet, slamming the table shouting as I watch their once confident façade squirm into what is now a perturbed scowl; a stuttering attempt to keep their cool. I’ve rearranged the deck, and now it’s stacked against them. I have the evidence to prove it.

    These are the cycles of simple joys of Phoenix Wright: Ace Attorney, a game where you’re an up and coming defense lawyer always out to protect his client. Originally developed in 2001 for the GameBoy Advance by seven people, Phoenix Wright is a small game with big ambitions, combining a detective simulator with a visual novel, with light adventure game elements on the side. It all seems like a tall order, but for the most part, the first game in this series pulls it all off with grace.

    Broken into five distinct chapters, Ace Attorney has you defending several different clients who have been charged with murder. It’s guilty until proven innocent, and it may seem straightforward in the first chapter to find an error in the testimonies brought forth from a witness with evidence already provided. This gets a lot trickier though when you’re tasked with listening to accounts from several witnesses, potential suspects, and investigating scenes for evidence, along with interviewing all potentially involved. There are a lot of moving parts, and more often than not, the truth of the case doesn’t show its face until the last half, when the hidden cards are dealt. But you’re not trying to prove anyone guilty, as it can be easy to forget sometimes. On the contrary, your focus is on finding the contradictions in the testimonies in an attempt to defend your client. Only in doing so, can you hope to find the real culprit.

    The game is split between three distinct sections throughout each chapter. You’ll interview your client and hear their side of the story. Then you’ll go to the scene of the crime and see what evidence you can find to bring to court, interviewing all even vaguely involved who have a thing or two to say. Finally, you’ll take all of your knowledge and evidence to court and go to battle against a prosecuting attorney, who are trying their absolute hardest to prove your evidence insignificant to the case or outright false. There’s a real sense of playing detective here, and if you want to stay on top of things, you need to pay attention.

    For the most part, Phoenix Wright does a good job of keeping on track with your own mental hurdles, and so it will make sense when to present a piece of evidence to contradict a statement, or knowing where to investigate a crime scene. This can be immensely satisfying, when your own brain is in perfect sync with the flow of the case, and Phoenix says exactly what you were thinking when presenting evidence. The last couple chapters can be rather obtuse in where they expect you make connections however, especially the final one which was released several years after the original game. The leaps in logic here can make those parts a frustrating challenge to get through without a walkthrough. However, they don’t take away from the joys of discovering the story and the characters.

    Each chapter is filled with charming, lovable and comical characters that you’ll get to know, all with silly cartoonish names that will stick in your brain like their caricature antics. Dick Gumshoe is a detective who can never catch a break, but always wants to do what’s right. Miles Edgeworth is a lifelong friend and rival, who is cool, levelheaded and little cold and detached, but is also always sided with the prosecution. And Maya Fey is the younger sister to your mentor, who will always be by your side with a snarky quip, encouraging hints or sincere support throughout, even when it seems like there is no way to win the case at hand. These are just a handful of a large cast that slowly gets introduced to you, and their hearts are as big as their senses of justice. A huge amount of praise has to go to those who went through the work of translating the game as well, as the characters all use puns, jokes, and wordplay that often comes out in crucial court scenes. Many of these lines needed to be changed through localization, and while it is noticeable in certain areas, like the change to put the setting to Los Angeles even though it is clear that it is not in actuality, I feel that the work done here should be commended much more than condemned.

    Even through the minor gripes of gaps in logic, even with the sometimes head-scratching translation choices, and even without the colorful cast of supporting characters, Phoenix Wright: Ace Attorney is still a game that is almost like nothing else I’ve ever played. Playing detective has a certain amount of satisfaction that is deeply and satisfyingly palpable, and bringing those elements to the court room is something not often done in games. But added to that, the lively cast, the out of control stories that can be as zany as they can be serious, and Phoenix Wright becomes something completely unique, a game that is unforgettably full of moments that will have you laughing or shouting like the best law dramas. There are few things as satisfying as watching a character who is clearly and frustratingly hiding the truth, only to bring the perfect piece of counter-evidence to break their cool and watch them squirm as the truth comes pouring out. Phoenix Wright: Ace Attorney is an astounding accomplishment in visual novel games, full of the kind of heart that you can’t fabricate, and shouldn’t be missed.


  • Carrion

    I was kinda hyped for this game, then Huber's review left me a little concerned. Glad I went for it!

    The game has some issues but nothing too serious. First kudos for the monster's animation, feels great to control, very responsive and with good animation details. Honestly this alone makes it worth playing it. And as you power up it becomes more and more satisfying to wreak havoc. On the other hand when you take control of Humans we go to the polar opposite of quality, badly animated, like really bad. Furtunately these moments are short, and when they become part of the combat puzzle you can actually have some fun without the poor animation ruining it.

    Level design is good, intuitive. I can't even say if the game has a map, never felt the need to look for it. Never gets disorienting, you just follow the path of least resistance and you'll get where you need to. It works particularly well with your character being a formless beast.

    The atmosphere is good too, music does a lot of the heavy lifting. Quality atmospheric and cinematic music. My only complain is the lack of low end in the mix. Sound design is all over the place, sometimes brilliant, like when you reach near the surface and you hear rain falling outside, others silly bad, like with the humans screaming.

    Art direction is ok. Does it's job but just that and nothing more. It's a shame. Kinda generic, dull.

    Loved that's just 4h, feels right being that short. The ending is simple and elegant.

  • AI The Somnium Files 9/10

    This game ends with a completely out of context dance number, and my god it just became something I want more games to do.

    That's the most important thing I wanted to say but really I liked this one, but there's a lot I liked about the game, it is the type of thing many wouldn't find appealing due to the lack of 'gameplay', but it didn't dissapoint at all and feels like a great evolution in some ways of the Zero Escape style of games.

  • Ghost of Tsushima

    I'm not really into open world games and ones that lack in variations in their mission structure.
    The game evens out by having a lot of tools and skills you learn that it's enough to make encounters more enjoyable. Combat is great (though sometimes unresponsive) and some fights were really challenging and evolves the more you progress. The side stuff to earn more stuff are nice not to mention tales that are highlight of the game alongside the view and atmosphere. If you look closely it doesn't have the details that TLoU2 has or is technically impressive, A.I. is pretty bad most of the time and there have been lots of bugs during my time with it.
    But my goodness is it beautiful. The scenery, the variation of the map of the areas and what time or weather you have are almost all photo opportunities.
    It has the vibe that makes it stand out from generic looking areas seen in other games that are either boring ass desert or forest that you can't tell what game those are from.
    It's amazing how fast you load back in after dying. Sometimes too fast that you aren't ready in some cases. Also this game has amazing cinematic moments that just makes my jaw drop. This game made me feel good most of the time that I just got lost in the moment. Just relaxing and enjoying the moment where ever I went.
    Like it has its issues but none excluding forcing you to change to effective stance was bothering me enough to enjoy it. Not even mediocre stealth that I didn't use much unless necessary.

    Final Score: 9/10
    "Cutting bamboo,
    I rest on hot springs,
    pet foxes too."

  • Doom: Eternal (PS4)

    I really loved Doom 2016 but Eternal is really not as good. I just hate most the enemies here and the levels are way too long. It has its moment but overall I think it's a disappointing sequel.

  • Far Cry 5

    Mid-August and I finally have a game completed for 2020. I liked this game. I think Far Cry is for me. I can go where I want and find all the extra fire power when I want and then do missions as I please. The boss fights were all meh but I considered the story just a minor roadblock required to unlock items and skills.

  • Just finished Call of Juarez: Gunslinger, and I'm very happy to say that it's as good as I remembered. This is a good example of a game that confidently knows what it wants to be: it's focused on being this living personification of an unreliable narrator and it has quite a bit of fun with that idea. The gunplay is so solid and satisfying, with mechanics like the last second dodge adding a bit of style to an already stylish looking game. Not to mention a wonderful and intense dueling system that got me worrying about three things at the same time. The only big flaw for me is that the bosses are not as fun as the rest of the game since they're bullet (or dynamite) sponges. I think it's got a pretty decent length, it ended right as I started to feel the fatigue. (8/10)

  • Battletoads

    There's something here, some untapped potential. I've enjoyed the level of challenge and diversity of gameplay. The humour, maybe because the 90s were my teen years, is generally speaking actually well written for what it is. But there's a jarring disparity in quality between the animated interludes and in game. Voice capture, delivery and writing are much worse in game. Maybe something Covid related which affected production?

    To be honest I woul like to have them release an episodic Battletoads where this adventure could breathe. Because everything feels too rushed and there's enough characters and locations to deliver an interesting adventure. Plus gameplay across the different genres is solid enough to support a longer experience.