made me wanna give world another chance (insane)

anyway, awesome game man, just finished what i think is the base game content(?) i mean at least it got me to the credits lol

its hard to properly describe, it's supposed to be kind of intense, with tough enemies, large HP pools, attacks that fuck you up and all, but ironically enough it almost feels relaxing, probably a mix of how fun it is going up against bosses and just the chill atmosphere of exploring around very pretty places collecting resources and stuff

excited to go do more multiplayer quests and start the hub rank grind

In my opinion, The House in Fata Morgana (2012) is one of the most earnest, sincere and respectful works of fiction I have played. It will make you feel all sorts of emotions through its intense and cathartic tragedies, hopeful and optimistic belief in its characters and to top it all off one of the most beautiful romances I have ever seen. The House in Fata Morgana is a story that takes place across almost 1000 years and delves into all matter of subjects such as discrimination, human nature, self-sacrifice, forgiveness and truth but none is focused on more than perspective as the game pulls back the curtain on all of its cast, thoroughly inspecting them, as it encourages and discusses the importance of coming to understand the circumstances that leads people to the decisions they make - no matter how much they may regret them.

Getting the obvious out of the way, the games presentation is out of this world. The setting is constantly shifting door to door as within each one comes a new era. Whether its 1603, a period of great improvement to the arts, 1707 in which sea trade, travel and discovery thrived or 1869 with great advancements in technology - the game manages to consistently adjust its presentation to fit the time and characters within it, perfectly encapsulating the atmosphere of the mansion in and outside the doors. The sprites are incredibly expressive, the backgrounds are quite distorted and muddy which serves to bring more focus to the characters on screen but also lean into the games gothic and horror elements and the music consists of 68 incredibly high-quality songs that don't shy away from occasionally using vocals - largely spoken in Portuguese. Everything visually and audio-wise just comes together so well it's hard not to get taken in by it all especially when one of the first songs that plays is one of the best, which is aptly called The House in Fata Morgana.

"Events by themselves do not tell the whole story. Only when you take into account their circumstances, what they thought and felt, their perspectives—only then can you say you've reached the truth"

It wouldn't be a fitting review without discussing Fata Morganas biggest strength, which is its cast. As mentioned earlier, the game lays bare all of its characters thoughts, feelings and emotions for us to see, and it's through this deep exploration of the cast that produces fascinating fleshed out characters coupled with very human interactions, and with this showcase of its characters presents and pasts, the game is able to touch upon an array of themes and subjects that I can only say were handled incredibly well, and treated with the utmost respect. Love is a core part of the story and is a major theme consistently shown through the cast, and while the game does show off its beauty it also shows off negative aspects of it, such as the hypocrisy that can be born from love, how love can blind you to another persons faults, or the effects of not talking out issues. Another theme is victimhood, and how the game makes it known that recovery can be a long process, with forgiveness being something that shouldn't be expected but can happen so long as that person makes the choice - they are not obligated to forgive those who have wronged them so deeply, but moving on is very important.

This character-driven plot of The House in Fata Morgana ultimately allows it to unravel its core theme of perspective. How often do we immediately lash out or think negatively of those who have wronged us, seeing them as just the person in front of us, rather than looking at them through the lens of what circumstances might have led them to do what they did? What is the foundation of their actions? Beneath every character in Fata Morgana exists ghosts from the past that haunt their future, phantoms that take the form of previous harmful words and actions, ones they may regret, ones they may not, and yet the game understands that rather than simply categorising these actions into vague terms such as "good" or "evil", it's more important to recognise the basis of them - it could be down to coercion and blackmail, misplaced emotion or the long-term effects of institutions. The House in Fata Morgana therefore encourages understanding and compassion, to try and look beyond what you can see. It may seem like a simple message but it's an important one nonetheless to come to an understanding with those around you, allowing yourself to see a person from a different perspective might entirely change yours. It is truly remarkable how many different subjects the game explores that is due to its fantastic characters, and furthermore how tactfully each subject is approached.

The House in Fata Morgana's narrative is made up of 1 major route, and while the story does take a long while to show its true colours, that shouldn't discourage you from playing through it as the story is incredibly well-rounded with every section of the game being recontextualized overtime. So much carries meaning throughout, with multiple moments of foreshadowing being present in the earlier parts of the game. It may appear melancholy often, but The House in Fata Morgana is truly a hopeful tale that never gives up, its human to a fault and you will be hard pressed to not find some relation to any of the characters. Mechanically the game has some great features, the choices are interesting (namely the usage of timed choices) and the backlog in certain moments is used to enhance the games mystery which is nice. It also consists of numerous bad and dead endings which may occur due to the wrong choice, they're actually pretty entertaining and provide some very haunting but interesting what-if scenarios.

Outside some minor issues with areas of the game that drag for too long, dialogue where the characters don't speak like they would in their respective time periods and some characters needing a bit more time to their backstories, none of these issues are enough to truly take anything away from the extremely gratifying experience that is The House in Fata Morgana. Don't let the games slow start scare you, this game is truly one of a kind that everyone should pick up. It made me euphoric, it made me distraught - and it also made me cry multiple times, something I respect any game for doing.

Cinematic puzzlery before we were ready. Suzuki Bakuhatsu astounds with its production values, abound with turn of the millennium photography, set dressing, apparel, and unbridled contentment. For as harrowing as the premise is, that the mundane has been overtaken by sophisticated explosives, the often devil-may-care attitude of Rin Ozawa's character suggests a subconscious understanding that this danger could never really happen. This is a world before the War on Terror, before we were made to feel unsafe by government and terrorists alike. Why not watch a bomb defusal expert hurriedly carry out her craft on stage, how could the worst possibly come to pass?

These vague plot points and extensive production are indicative of Sol and Enix's attempt to break the conventions of the stagnant puzzle genre. Tetris and Panel de Pon with new coats of paint were not enough. Kula World and iQ weren't thinking big enough. If the medium was to mature into a legitimate mode of storytelling (or at least entertainment) it needed bombast across all genres. The puzzle game could (and is shown to be) so much more than the puzzles themselves. It can be as tense as a thriller, as lighthearted as a situation comedy. Yet the puzzles too remain a highlight, with fully realised, complexly nesting polygonal designs which are explored in the round in a step above Resident Evil or Skyrim. The bombs are as the puzzle boxes seen in Fireproof Games' The Room, a series of self-affecting pieces, more involved than they let on. Suzuki Bakuhatsu simply would not work in a two-dimensional space.

Tomoyuki Tanaka's shibuya-kei interstitial compositions are as much a highlight as Rin Ozawa's humming during defusal, and the cast and crew are dripping with talent. On the variety show Suzuki inexplicably becomes a part of, we see Yukiko Ehara and YOU THE ROCK★ flanking Minami Shirakawa. Asami Imajuku, Haruichiban, and Kiyohiko Shibukawa make surprise appearances as well. Though not quite a who's-who of the Japanese entertainment industry, these familiar faces (especially two decades after release) demonstrate that Suzuki Bakuhatsu was all about bombast. In a world before Portal and Catherine, however, perhaps we were unprepared to accept that puzzle games could be something more.

This must have felt like a blockbuster movie back in 1998, huh?

Well, Metal Gear Solid is a classic for a reason. An engrossing story, overwritten to within an inch of it's life and excellently voice-acted. This is my first Hideo Kojima game and I'm starting to see why he has the divisive reputation he does. Personally, I really like the vibe, even if the crazy amount of fourth-wall breaking did overwhelm me at times. Psycho Mantis didn't tell me that I liked Castlevania but he did tell me I was shitty at combat which, well... he wasn't wrong.

It's funny, I found most of the bosses a breeze but really struggled with a lot of the standard sneaking sections. I know I suck at stealth in general but I feel that MGS's gameplay hasn't really held up as well as other games of it's ilk, such as Resident Evil 2. Man, 1998 was a good year for games, wasn't it?

This was my initiation into the Kojimaverse and I'm very curious to see where the Metal Gear Solid universe goes next. I'm sure it'll be full of surprises.

I am happy TWOM exists as a piece of culture. I am not happy it is relevant because war exists. Neither am I I do not consider it a good game.

The point of TWOM is to reproduce a survival experience during a modern day siege. That's why the game is a 2.5D stealth-plateformer-management-visual novel game. You think it's a lot ? It is. Exactly as managing to survive a siege is. That's the genius of TWOM : it shows you how fragile is life by making any aspect of it's design absolutely ruthless and crucial, while letting you incarnate people. And people, as we all know, are normal : they fail to do stuff. They even don't have any ideas on how to do most things. It sounds frustrating ? It is. Especially if it happens on day 20... If you read my logs on the SoulsBorne serie, you probably know I dislike frustration, the lack of infos and hardcoreness. As for myself, I tried the main questline and the oldies radiomen. I failed those two quests and left the game.

You've understand it, TWOM is in my opinion a good idea shaped in a good game, but the idea itself is a bad game idea so I consider the game bad after all. It lets you play civilians stucked in an sieged Sarajevo. You must find way to survive by :
- Organizing your daily tasks...
- To gather stuff : scraps, supplies, ammunitions, money...
- To craft things : weapons, tools, furnitures, fortifications...
- To... I don't know. Eventually wait until the end of the game I guess ? I died before.

Each of your survivors has a talent : this one is a good cooker, this one hits hard, this one is stealthy... You must use them in the most efficient way to survive. Most of the time, in the main questline at least, you'll have one people doing daily things, another one sleeping and the last one going in an expedition to find stuff. As said earlier : every thing is absolutely necessary to your survival. Each mistake is lethal.

When we focus on the part of the game I liked the most (even if I found if kind of boring overall), which is managing your home, we might think at a first glance it isn't as ruthless as I say. But believe me it is. You'll have to build furnitures. To do so, you'll have to build tools in a first place. Every thing is expensive. Each tool gives you access to a limited amount of new furnitures to build. That means that if you craft a useless tool in a first place, you'll certainly die. Slowly but certainly. That also means that if you craft a bad furniture you'll die, because it used ressources necessary to do other things. For instance, what's the point of the radio ? What's the point, in the early game, of a heat source ? If like me, you constructed both in the first days, you'll regret it and you better restart.

The dialog + inventory + barter system is very good though. Items are stackable to a limit (which depends of the item we're talking about) in an inventory case. Tools and/or weapons also take an inventory case. When you see someone, you can either fight him, either talk to him, either avoid him. If you talk to him, you'll sometime have to trade items with him. Each item has an hidden cost that seems to depend on what the people you talk to needs more : if he's ill, he'll consider medicine a wealthy item for instance. There are even specific items like vodka or cigarets that are really powerful in a barter situation but near useless in the rest of the game. Inventory space is also a real thing : if you decide to go to the main square to see merchants, you'll have to seriously consider what you take with you, because it must be the most valuable for those merchant as well as taking the least space in your inventory to let you take what you want from them.

Eventually, I must talk about stealth and fight system, which is where the whole game collapse in my opinion. The other systems hide a lot of infos (where's the most valuable place to put a reservoir, how much worth is a fake cigaret made of grass... ?) but they are not based on timing and sometimes are not that ruthless. The stealth-combat system is, on the other hand, based on timing and is absolutely ruthless when it comes to gunfire.
Basically, you point n clic things. When you do so, your character goes in position to execute the task. If you clic once, he does it slowly and without making noise. If you clic twice, he does it fast in a noisy way. Noise alerts enemies. Enemies have guns. They shoot at you. You die. The game doesn't features saves. That's the first scenario.
The second scenario is they shoot and eventually hit you, but you manage to survive. Congratulations, you're now wounded, and you'll die of stravation/illness because your two other surivors cannot handle the daily task on their own and they'll eventually get ill or seriously exhausted. And you'll die.
The third scenario is you didn't made an noise so they didn't shoot at you. Unfortunately, the game forces you to go further and thurther in your explorations. You'll eventually end in a very dangerous area, full of armed soldiers you'll have to face. Now, you have to solutions : either play the worst game possible by hiding and waiting a looooooooooong time in dark holes for guards to pass, either you try, on day 30, to attack a guard. Unfortunately, there was no tutorials for that. You don't know how to do so. You finally approach the guard and try to neutralize him. You clic on him. Wrong call. I guess you should have clicked on the icon upon him, with the knife in your hand. He saws you. He shoots you. See scenario 1 or 2.

Again, that's logical. If I was stucked in a sieged city, I myself wouldn't know how to disarm/kill/stun a military aswell. This is the better "You are a civilian stucked in a war" game experience. But that game experience isn't something I actually want to experience. Nonetheless, I am really happy some game devs took the time to think about that experience and eventually delivered a game that made a lot of people think. A game that recenters the debate about war in videogames : war is a tragedy. Nothing less, nothing more. This is something important to tell, and TWOM tells it correctly.

So does the metal gear solid serie in a way better way in my opinion but that's not the topic there. TWOM is a good game with a good message. But I hated it's frustrating and ruthless game design.

This game's way better than I thought it was going to be.
It's got amazing characters, stellar audio, there's even different art for every level (and they are done incredibly well) and there's tons of funny interactions.
The game let's you play quite freely - it presents you with an objective, and you get to do it whenever you want and however you want.
The two DLCs are incredible too. Seal the Deal adds some cute missions but also a brutally challenging Death Wish mode, adding tons of replayability to this game.
Nyakuza Metro is fantastic, mainly through it's presentation and music, but also giving the player a billion cool items you want to buy and dress up Hat Kid with.
Other than the unneeded political 'easter egg', this DLC is stellar. Also cute Yakuza reference!
Hat kid's cute, this game's cute, it's tons of fun and unfortunately got overshadowed by releasing very close to Mario Oddessy's release.
Also Hat Kid gets a scooter.

My friends really hyped this game up, but after playing it with them for about 20~ hours, I just can't get into it.
It was fun at the start, but the gameplay loop just seems extremely samey. Take missions, kill boss, use boss materials to make gear, repeat. I didn't find it rewarding in any way, and there was an armour/weapons set much stronger than the rest without needing many items at all.
There was also this 'tower defense' mode, it sucks.
I think people play this game because the two girls are very cute.

This is the first Swery game I ever played! Yay! For the time I've heard of him! The japanese author that never really took, the Suda51 alter ego!

It was absolutely wonderful. I'm not a huge fan of cinematic plateformers (I've liked Limbo and that's all) but JJ Macfield fully convinced me.
The game's smart, dense and very well rounded. It has enough things to be interesting, and when everything has been told, it ends. The pace's good. Puzzles are smart and use the mutilation game mechanic in a clever, pertinent, humoristic, very appealing and efficient way. It was really pleasant playing a game aware of its ambition, featuring no superfluous features : no double jump, no combat, just a basic move set added to a simple and delimited mutilation system featuring :
- Dismemberment
- Burning
- Gravity reversal
- Player controller adaptated to your current state

What the game has to say and how it says it is subbtle and smart. It is an ode to happiness, love and life.

3 things I need to point out :
- The switch physical version of the game has been made in way too little examplaries. As a consequence, it is ridiculously expensive (80+€, which is obscene considering I bought a digital version 6€). It is a shame, because that kind of game from a renowed author is going to age well, and people will want to play it in 5, 10, 100 years. Unfortunately, it is also what has been done with the following Swery games.
- It might be the most violent game I ever played. It is the most 18+ games of every 18+ games. To not put in every hand, especially children hands.
- The end is a little bit too much oriented towards explainations in my taste. The final condrontation is great tho.

I am convinced videogame isn't sufficiently considered as a media. Evoland is one of the few games that tries and actually succeeds in both telling the videogame and thinking the videogame (all things considered : don't get me wrong, this game isn't Metal Gear Solid).

Evoland's a journey through your culture and your memories. At least it seems so. In reality, a non player or even a very young child can play Evoland as their first game and enjoy it. This is a tour de force considering how referenced the game is : if you've played either a Zelda, Diablo or 90s Final Fantasy game, you'll say a tons of time "Hey, I got it!". There's even a triple triad TCG copycat as frustrating as the original.

Eventually this, with the pace, is the aspect I disliked the most in Evoland. Referencing is... something I do not like. Because it does not mean anything to me : "Yeah game, we've both liked FF6, and so? Do you wanna talk about it? If you do I'm in. No you don't want to? That's... A shame. I would have loved to."

The game's fine tho. It focuses on what's matter : not being too difficult, smartly use very few solid core mechanics, and varying the game experience from the begining to the very end even tho yes, the other critics are right, Zephyroth is a (light) pain.

Considering the game's based on a game jam concept and has been made by 4 people, it would be a shame to point out its few true default. As a consequence I recommend you play it and I hope you'll enjoy it.

I don't know if it's the "Ubisoft effect", but this game is actually very cheap in France because it seems a lot of people bought it at the time. Everytime I see a PS2 for sale, it has XIII as one of the 4/5 games accompaning it.

I never heard of XIII before buying it for 2€ and playing it. It was way better than I'd thought. The game's all in pace. You move fast, you shoot fast, and the art direction + sound design gives you clear feedbacks as for when an enemy dies.

The game loves diversity : infiltrations sequences, timed sequences, plateform sequances, tower defense sequences, light puzzles sequences... You never got bored with XIII. You might instead get frustrated during very few moments, when the game's a bit tough or when something isn't clearly indicated and your softlocked but these kind of moments are rare.

I must point out the quality of level design. The notable exception is the last infiltration sequence which is... Absolutely awful. This game moment aside, there are so much ideas in XIII's levels that you might want to replay it. Guns distribution through levels is great, challenges and objectives are diversified. I must specificaly point out the surgeons' lair, the canyon and the church as the best levels in the game.

P.S: The OST is certainly one of the best ever integrated gameplay-wise to an action game.

In short : I did not like this game.

To elaborate on this we'll need a bit of context.
- I am a worker of the industry. I hear a lot about this game from my colleagues, my friends and my beloved sources thinking the videogame as a media (most of them a french, some are international)
- TLOU is considered a masterpiece. That's how I approached it. That's why I played it.
- TLOU has been published in 2013, 2014 and 2022. It's sequel has been published in 2020 and the show is available since january 2023. I believe it's fair to say this game serie had a huge spot in the media this last decade. I was, and I still am fed up with this game being always shown as a pretended masterpiece of both the genre and the media.
- I bought this game less than 10€ last week (either 10€ or 5€, I don't remember).
- This is my first contact with the serie. I never saw the show nor did I played TLOU2 or the other versions of TLOU. I didn't even played it for 10min at a friends' house.
- I dislike the zombie genre.
- I am positive gameplay should always prevail over narration.
- I played it intensively while being COVID. I had fever the first day. I had respiration troubles and headhackes the following days.
- I played the french version. Both voices and text.
- I played on a PS3 absolutely not connected to internet, which means I didn't get any updates. I don't know if there are updates anyways.
- Considering the influence TLOU had over the gaming industry, I must point out I played games since TLOU was out. That means I played games re-using parts of TLOU's design.
- I tend to dislike popular things. Don't laugh, it's more a pain than a pride : every time everybody seem to love something and I don't I feel like I miss something. This is very upsetting. I'm actually working on myself on this point.
- The more time flies, the more I dislike western games (in opposition to eastern and namely japanese games).

This being said, after finishing this looooong game for the first and I hope, last time of my life, here are the qualities I've seen in TLOU :
- Body damages are cool. Please keep in mind Gun was out in 2005, Gears of War in 2006 and Call of Duty 5 in 2008 but let's be honest and admit TLOU's body damages are cool.
- There are bonuses. One of them are gampelay stats, a thing I love.
- Giraffes.
- Underwater scenes are more inspired than the rest of the game.
- The "hanged-by-the-feet" moment.
- Piano.
- The fact that the infection comes from a mushroom instead of a more classical bacteria or virus.
- Planks and ladders puzzles.
- The snow chapter was the better one and should've, IMHO, close the game.
- I'm confident it's easy enough to be beaten by a lot of people.
- Some places are narratively interessting, like the university for instance.
- The box illustration is reversible. It is an ugly composition in a boring black and white but it is reversible.
- There's a promotional flyer of Die Hard 4 in the box. I like this movie. More than Die hard 2 anyway (of course less than Die hard 1 & 3, this isn't even a question).

That's all. That's all the things I thought I would have remembered once I finished this game. Unfortunately, despite I finished it only yesterday, I'm terrified to admit I barely remember anything.

I remember the traduction wasn't good at all. Three examples :
- Ellie speaking about a floating plank : "Look, it walks!"
- Joel "It's pretty isn't it ?", Ellie answers "Yes, allright"
- An untranslated line showing up in subtitles.

To continue on details, I found the game very buggy. During one cinematic, all the voice lanes of one of the character didn't start at the correct time but at the same time as Tess' lines. During another cinematic there was just no voice lines at all.
Gameplay isn't in rest. The game's full of narrow corridors where 2 to 4 people wander. Sometime, they want to climb a ladder your upon, some other time they move forward while you are still. In both cases, it leads to you being forced pushed out of your position in T-pose. Another time, Ellie climbs upon an enemy to finish him with a knife. It does launch the animation, but it doesn't launch its gameplay-side. Consequently, the dude continues to charge me with a pipe while Ellie simply flies. A final example : I shotgun a zombie down on a concrete ground, it is splitted in two halves, its torso is proppeled light speed in the air. These bugs aren't blocking in any way. Unfortunately, in a game supposed to be the jewel of the western industry as well as a game based on immersion, these flashs back to reality are a bit disappointing.

That said, buggy games aren't synonymous to bad games. I myself like Left Alives. So what are the things I really disliked about TLOU? To keep things shorts I'll focus on 3 points : production, gameplay and, who would have thought (you can't see me but I raise my eyebrowns), narration.

Let's start with the production. I know this generation of consoles well : I had a Wii and a 360 at the time. So can you tell me what are those horses? Why are they like that? Why are they made of... glowing clay? You know, if you weren't able to do horses, you weren't obligated to add them to the game... Okay let's forget about horses and talk about your setup. You want to do post apo? Great! Gears of war and Fallout 3 did it very well in 2006 and 2008, you'll do it easily in 2013! What do you mean? You're globally okay but we must not pay attention to details because you wanted to do way too much things for a PS3? That's why your trashbags are squareshaped in the first chapters? Allright but can we talk about your universe a bit? The apocalypse has taken place in 2013 right? So why do pretty much every middle-class american family still have cathode-ray tube screen in their houses? Is there a reason for it? How would this shotgun and these ammo have a chance to work considering they were in the open outside for... Well 20 years? Does that kind of things make any sense? I am okay with this stuff in Resident Evil or The Evil Within because they do two things to counterbalance this :
- 1st, they try to justify they're universe until they cannot do it anymore. RE2 for instance takes place in a police station, that's why there're guns, but it does not explain 4th dimensions infinite chests. As for The Evil Within, it takes place in a nightmare, which is certainly the best way to justify improbable things. TLOU, on the other hands, claims to be realistic.
- Secondly, these games are way more aware of themselves than TLOU. TLOU is serious. RE is absolutely not serious. Saving the president's daughter from spanishs zombies and crows dropping money is utterly stupid. This helps a lot to accept "gamy" things.
All cynism aside, it's easy to tell the game's a bit cramped on the PS3. Some scenes, like the snow scene, are technically great tho.


I don't want to speak a lot about TLOU's gameplay. It is... Lame. You know Uncharted? Well, replace the "okay-tiers" puzzle phases and the bad plateform phases with very, very, very, very, very, very, very, very poor infiltration phases and even more dialogs. Congrats, you have done TLOU. Oh no, wait. Get rid of the mise en scène as well. Now you're good. Gunfeel is unsatisfying. Gunfights are slow. Craft system is a craft system amongst others : I only search for clip capacity to trick the game into carrying more ammos as The Evil Within taught me. The problem is upgrades are a necessity to simply see the end of The Evil Within whereas TLOU do not make you uncomfortable : I finished the game full ammo and armed to the teeth. I said infiltration phases are poor. Indeed they are. Sometime a precise type of zombie sees you. Sometimes it doesn't. Sometimes, in a comparable setup, it's the other type of zombie that sees you. By the way, the game's uplayable until you've bought the upgrade to counter clickers bites with your knife. Chara designing zombies in a way we can clearly differenciate clickers from "normal" zombies using Joel's ear would have been a nice feature to both spice up and increase playability of infiltration phases. Unfortunately, it is not the case : when you understand your heard, you just have to pray for a normal zombi to catch you while your invincible comrade shoots clickers down. Bosses are a straight up insult to boss design : even halo 2 bosses were better. I even think (I'm really not sure of it, I played it a very long time ago) Batman Arkham Asylum bosses might be better than TLOU's. And believe me on this one : Batman Arkham Asylum bosses are NOT good at all.
Gameplay's bad. And what? The consensus isn't we play TLOU for gameplay. So why do we play TLOU?

It would appear we played it for its narration. I tried many times to both write scenarios and dialogs and I miserably failed as many times but... How to say it? With such an established genre, with strong codes... Considering the game was out at the peak of the zombie trend, with the walking dead show being at its peak... Well at least we can say this game's utterly predictable. At a point I once or twice asked me if it was parodistic or not. Some examples :
- Oh, we are seprated from our teammates for... Approximatively 3 minutes in game. Just before we join her again, she whispers "oh shit". I tHiNk ShE's BiTtEn! Spoiler : she was.
- The only character defined by his sexuality is gay and there are jokes about him masturbating.
- You know which character should have been defined by her sexuality? Hint : she's 14.
- Joel is stupidly violent, at a point he certainly is mentally ill. To be fair, living in his world for 20 years would have certainly made anybody mentaly ill. But would it have turn them into psycho? I dont know.
- The end's zofhozhfhkjebrgjherbggizzrhrhfpozekefpopzekff and do not make me want to see those characters again in a sequel.
- I want to point out the tone. It's either the one of a naughty teen, either the image I have of a very cheap parodistic american action movie. In one word : crude. Like way too crude.
- Giving you characters biblical prophets names is either cute either :)
Strangely enough, the main complain I have with the narration is the universe. I talked earlier of the gamy stuff, which honestly I understand. Making games is my job ad I love that kind of things. Unfortunately when you tell a story that claims to be realistic you have to assume it. I have a simple question here : why are there so many people out there? I get it that this amount of people justifies the amount of zombies, okay, but... Wasn't the pandemic utterly infectious? Wasn't there absolutely no hopes of surviving it? If so, Weren't simply a few people park in fascist town, like what's shown at the beginning, whilst the vast majority of the country simply have died? I mean I get that very few communities have survived and organized themslves how they could but... Can zombies die of starvation? It seems so. So why 20 years (20 years!!! 20 times 365 days!!! Elie is born 6 years after the disaster and is now 14!!!) after the pandemic there still are so many people and as a consequence so many zombies? For gameplay reasons yeah, okay, I get it. But that's lame imho.

TLOU marked the videogame industry and my critic won't certainly change anything on this topic. That's not it's goal in any way. But if you authorize me to, I would want to ask everybody, when it comes to videogames, to ask themselves 3 simple questions :
- Do I find this game good ?
- Do I like this game ?
- Do the audience/critics like this game ?
As you've understood seeing my rating of the game : I didn't liked TLOU. But I humbly tried to explain why in this paper. Admittedly, I made it a little bit funny, I made fun of details. But ultimately, I tried to be honest with the game and my feelings about it, and I try to lie them on the internet so you can see it. My point here is : Like the games you like, nobody has nothing to say on it. But please, listen to the ones who did not liked your beloved game, and try to understand why they didn't liked it.

If everybody tries her/his best to explain their feeling about videogames, I am convinced this art will evolved for the better.

Thank you for reading, have a good game.