✅Open world
✅Abyssmal collect-a-thon of plants and animal stuff
✅Shitty crafting system completely tacked on
✅"Stealth" mechanics revolving around hiding in bushes and takedowns
✅Enemy campaments with useless rewards
✅ Annoying npcs

Far Cry haters are awfully quiet today

me paso lo mismo que con el primero, me divertí hasta la mitad, después le perdí la paciencia y me empezó a parecer que mas que con los enemigos me estaba peleando contra el juego, además cerraron los servers hace semanas y tuve que pasarlo todo offline.
es como mi tercera vez probando este juego, siempre lo droppeaba porque me aburria casi al final, las veces anteriores jugue con zweihander, uchigatana y una espada recta con escudo, esta vez quise ir por espadas dobles, las cuatro veces termine cambiandome a una build de STR (que me parece aburridisima) porque no puedo hacer funcionar las otras builds...

mas alla de que se me volvio grindy en momentos, lo que me da paja de los souls es tener que pasar por una zona llenisima de enemigos y que al final me termine matando nose un pedo de un enemigo que te oneshottea porque si y te hace volver a pasar toda la zona plagada de enemigos otra vez, una verga. encima parece un chiste porque hay zonas donde no tenes una hoguera por 20 minutos y despues en una parte aparecen literalmente 2 hogueras a 10 pasos de distancia???

el jefe final esta epico hasta aparece en la portada del juego con un soquete en la mano

After 80+ hours of Red Dead Redemption 2, a question pops up in one’s mind:
In the process of making a game that examines the fall of the American frontier and the decline of the Wild West, did the irony register at all with Rockstar that they were also making a game about the end of the triple A design structure that has plagued the medium ever since the birth of the 7th gen?

Regardless of what pre-established biases one might come into RDR2 about the value of graphical fidelity and closeness to real life and focus on cinematic design and film language in games, it’s impossible not to be impressed by Rockstar’s commitment to the simulation of realism. Your character will meticulously grab each item he loots and place it in his satchel, craft each new tonic or bullet one at a time with detailed animations, remove and place his weapons on his horse whenever you switch them up, shuffle dominoes and grab each piece one by one in every game, and skin every hunted animal with gruesome detail and carry them on his back to his horse every single time. NPCs all have their per-determined schedules that happen regardless of your presence or not, wild animals behave accordingly to their nature and even hunt other species, and every mundane action, be it taking a shower, mounting a camp, cleaning your guns, or brushing your horse, carry a level of detail and weight never before seen in a blockbuster game. It also boasts one of the most beautiful environments to walk around, filled with detail and big expansive nature landmarks, frequently creating moments of awe as you ride around the mountains and landscape.

This level of realism is further elevated in the gang’s camp, where you have a group of misfits you can deal with daily and who all have their respective quirks, goals and actions. Rarely will you hear the same line of dialogue from these characters in the course of 80 hours, and the impressive amount of scenes and conversations that occur not only between your character and them, but also between themselves, means that you will finish the game without experiencing half of the camp scenes that happen dynamically and without feeling like scripted events. When you find yourself around a campfire with your gang after a well succeeded mission, being able to join in the singing and festivities with them, suddenly all the effort in creating a realistic world comes together and for a few seconds the immersion is achieved and one feels like he is a part of a fully realized world and that these characters are tangible and real.

It’s unfortunate then that each time you get into a story mission, that effort is collapsed and you are thrown back into the videogame. What was once acceptable in RDR1 now feels incredibly dated and restrictive, with the usual design structure of having you ride to the mission on horseback and having a chat with an NPC while you follow a yellow line, following every single instruction the game tells you without any chance to deviate from it, waiting for something to inevitably go wrong, and then shooting a comical number of enemies that spawn out of nowhere like a NES game until everyone is dead. Rinse, and repeat. The level of realism found in the open world aspects of RDR2 only serves to call attention to how detached and out of touch the story missions are, leading to incredibly absurd scenes where the main character chastises a crew member for killing too many people during a story cutscene, when you the player yourself have been forced to kill 50 people during a house robbery just the previous mission.

What ends up happening is that most of the stuff you will be doing in the open world won’t matter at all because that would be stepping on the story’s toes. Regardless of how much money you have or how much you have contributed to the camp and NPCs, nothing will have effect on how the story will progress, with the exception of a very simplistic and outdated Honor system. This in turn inevitably leads to the open world map feeling like just a bunch of lines between check marks to fill, with the occasional scripted event to deviate you, but not much!, from the beaten path, and the rare exploration quest that happens when the game decides you should. Even the act of hunting an animal in the wilderness is affected by Rockstar’s grip on your hand, having a highlighted line on the ground that flashes and leads perfectly to your prey. The simulation aspects end up being surface level mechanics used to visually impress the player, not really influencing in any meaningful way either the gameplay or the story. It’s all shallow spectacle.

Which is a shame, because RDR2 has one of the most compelling videogame characters ever created. Arthur Morgan’s story takes a very contemplative and introspective direction in it’s final act, as he finds out he doesnt have much time left in this world, and it leads to some of the most interesting and emotional moments that Rockstar has ever created. Arthur’s effort in making something out of the few life he has left ends up influencing the player’s action outside of the story, and in one of the most poignant and humane moments in the whole game, you are forced to lay down your controller for a few secs, as Arthur requests a moment from you so he can catch his breath, something that makes the player care and empathize with a bunch of polygons much more than any cutting edge cutscene in the whole game could. Even the act of playing the last stretch of the game mimics Arthur’s new perspective, the missions feeling like a slog to go through, Dutch becoming increasingly frustrating, repetitive and annoying to be around, and the creativity being lesser and lesser, which would have been an interesting and insightful direction, had that actually been the intention by Rockstar. But RDR2 is adamant in separating the story from the gameplay, even bafflingly inserting black bars on top and bottom of the screen each time control is removed from the player, as if to signal that it’s now movie time and no time for interactivity. Regardless of all the issues with the story and gameplay, Arthur’s story is enough to carry the whole game on it’s back, and any player invested in his tale will have a hard time not getting emotional at the gut-wretching ending.

But then the game continues. For 5 more hours. And it’s at this point that the dam breaks and the flaws of the game become full center and aren’t easy to ignore anymore. The epilogue, which lacks any self awareness as it presents itself as a two parter, drags it’s way into a fan pandering ending, filled with needless shooting, redundant subplots, and characters that completely undermine the impact of the actual ending of the game. We can’t have a simple mission about just herding some sheeps, shopping with a friend, or fly a hot air ballon. No, every mission has to have a bloody battle with a body count that would make Stalin jealous, because Rockstar cannot bear the idea that some players might be bored if there isnt anything to shoot at. During an exchange between Morgan and an NPC the screen fades to black as they start talking about their lives, as if to spare the player from all those “boring details”, instead leading straight to the action once more. Rockstar can’t bear the thought of giving more opportunities for normal interactions between the player and the NPCs, while I sit here thinking about how one of my favorite missions was when I crossed the whole map to see a character I was fond of, only to get a kiss and that being the end of the mission.

RDR2 is a bloated game that can’t read a room on when’s it’s time to bow down and stop the show, deciding instead to outstay it’s welcome for an absurd amount of time, like an old frail man clawing at the last moments before his time to move on. And maybe it’s also time for Rockstar to move on, and let ideas of cinematic grandeur and realism in videogames finally lay rest once and for all.

checked out the ign walkthrough to see how far through this chore i was and almost started crying when i saw the video linked for "how to find the infinity gauntlet easter egg" guys i can't do it

this is literally stale white bread in video game form like i don't get it!! what do we all like so much about this?? i see the upgrade menu and the quest log and all the useless extra skills and my eyes glaze over instantly. i literally have not felt less of a drive to keep playing something since i trudged through bioshock infinite. this thing is 20 hours long apparently and even with my relatively generous amount of free time i absolutely cannot imagine getting through all of that

also the combat is barely functional and contextually boring as shit, i've been spoiled by other games that make an effort to characterise their enemies bc seriously - what is there to be engaged by while i'm fighting generic troll #8 or a fucking stone golem. at the worst of times there's absolutely nothing here

i'm gonna go retreat back to my cave. fallout 2 here we come babeyyyyy!!!

Me gusta el coche de initial D por razones (aunque no me viera la serie), y estar varios días jugandolo que se te de fatal y justo un día con fiebre te da por ver una review para saber si el juego es difícil o simplemente apestas, te pasas toda la tarde grindeando y upgradeando el coche y entendiendo que hace cada mejora y como afecta y piensas.... joder por esto le gusta a la gente los coches y creo que Kazunori Yamauchi consiguió lo que quería

(review escrita el mismo día y con el mismo estado mental que eso solo añade a la experiencia imo.)

Umurangi generation is a game that wants you to observe and understand its world, its habitants and their situation using photography to capture it in your own way, but (sadly) failing miserably at it.


First off, what’s the point of making a game about observation and understanding if you add a 10min timer to the main game mode? What am I supposed to see and understand if I’m too busy searching for the stuff I need in order to go on? Oh my god. But that’s just the beginning: it’s also a game about doing what you’re told. Picture this and that, from this distance and with this lens, and we’ll give you 3 dollars for each picture if you’re lucky. Super punk stuff. Since time pretty much stands still, the world feels less like so and what you can capture with your camera is much less interesting. Having every character and object placed specifically for the player to see them and take some pictures like it’s some cyberpunk theme park seems kind of weird. Even the level design has some dubious decisions in form of object placement for the player to reach certain spots necessary to take some obligatory photos. It really makes you feel like an arbitrary being, almost like a god, observing without being seen, living without consequences, existing without feelings.



Now about the game commentary, specifically about the bias against the police forces. Fuck the police, ACAB, etc. (yes, I love politics not only in video games but also in video game reviews, fuck you) but in Umurangi they’re just doing what they’re told. There’s no abuse of power anywhere, no police brutality to be seen. They’re just guarding places, doing routine checks, shooting aliens and dying while the president is having some nice holidays somewhere else. 

Guess that’s what happens when the world stands still, losing context and perspective and therefore damaging its own ideas.