Kirby as directed by Tetsuya Nomura. The final boss hurls literal ass buildings at you while trying to fuse two worlds together, then you swallow a big rig and race across more collapsed buildings floating in the ruins of the cosmos to engage in a DBZ-style Kamehameha face-off against a straight-up Toriyama-looking alien.

It's delightfully refreshing at first, but by the midgame, you'll have seen just about everything it has to offer; by the end, it felt repetitive and I was ready for this to be done -- nevermind the postgame. But the scope and creativity made this a delightful change of pace from my typical trend of inhaling JRPGs.

It also deserves recognition for being both cozy and apocalyptic -- the European power metal to Nier Automata's DSBM.

Apparently, it is only made by one person. Which doesn't seem that way in most of my playthrough, but I will take that into account.

I don't typically play side-scroller, but I will say that the combat is really engaging and fun. It has a complex system, which can get pretty formulaic late in the game, but I guess it's a given, considering how broken you can get later on.

The soundtrack is actually incredibly hype.

The story is where it's at. You started off playing as a hero with a bird looking for someone dear to him and you get this feeling that something is.. off. It's nothing special or unique at first glance, but this game is the epitome of going from 0 to 100. Never in a million years would I have ever guess the game's final sequence of moments or even the hours leading up to it judging from how it starts. There are a lot of plot twists that you won't expect and fortunately it's quite well done. It does get pretty "anime" at times, not in a bad way mostly, I would say it's part of the game's charm.

The characters, especially the main cast, have a soul and personality and not just there to push the MC. They all have their own goals and role to play.

My only complaint for this game is that, it does get slightly dragged near the end. There are new elements but some things are also recycled. Since, it is made just by one person, I will let that slide. Though at this point you're probably too invested for this to make you lose interest anyways.

Overall, this is hands down one of the best Indie games I've played, especially in terms of narrative. KEIZO really poured his soul into this, and I hope to see more of his work.

A detective noire thriller is a genre that I least expected from RGG but somehow in classic RGG fashion they manage to not only over deliver but they make this series almost as appealing of an entry into the Like a Dragon universe as Yakuza 0. Judgment manages to juggle a country-wide conspiracy and a thrilling murder mystery without sacrificing the integrity of either, Instead choosing to entangle them making the final reveal 𝘴𝘰 𝘮𝘶𝘤𝘩 𝘮𝘰𝘳𝘦 hard hitting. The only thing holding back Judgment from getting a perfect rating is the sheer amount of tailing missions that are sprinkled liberally throughout the whole game. The combat at the start of the game can also feel a bit sluggish however the Tiger and Crane speed upgrades circumvent that entirely. RGG as always bring their A game when it comes to character work and construct not only an insanely lovable little club of detectives but also some bone-chilling, psychopathic murderers who would stop at nothing to gouge out Yagami's eyes.

“EEEEEEEEYAAAAAAAAGAAAAAAAAAMIIIIIIII!”

Judgement is a Yakuza game in all but name, and RGG Studio’s first one set in Kamurocho without Kiryu as the main character. After giving up being an attorney, Takayuki Yagami becomes a freelance detective and investigates a series of murders in the city with the help of his former law office and ex-Tojo clan friend Masaharu Kaito. Substories are framed as side cases that Yagami can take on to earn some extra money, and new mini-games like drone racing and the Paradise VR board game are incredible additions. Anyone who is a fan of the Yakuza series should really check this out, and newcomers can jump right in without prior knowledge.

I don't understand how RGG can maintain this kind of quality in their games time after time.

An excellent spin-off from an already amazing series. The story was well-written and grounded, and genuinely had me surprised a lot of the time with its twists and turns. The detective aspects were solid, although the tailing missions got a bit annoying after a while. The combat was tight, responsive and so much fun once you've built up a few abilities.

Where this game went from really good to excellent for me, though, was the ending. The entire last chapter is near perfection--the narrative pay-offs are huge and the final boss fight is one of the best in the series. It's one of my favorite video game endings in recent memory.

The game isn't without it's issues though, even if my complaints are minor. The mortal wound mechanic is seriously frustrating, as you can only fix it in a very specific place; it's also difficult to stop some of the attacks that cause them when you're fighting in such tight spaces. And the combat encounters that happen in the world feel far too frequent sometimes; I'd need to get from point A to point B and be interrupted 3-4 times by a pack of goons.

Taken together, this was an amazing video game. I loved the detective mystery storyline, the combat is as fun as ever and the ending was just too damn good. I'm already eager to jump into Lost Judgment to keep the experience going.

Perhaps taking an offshoot route to play Nayuta in my not-for-the-faint-of-heart journey through the Kiseki series when I was and am admittedly dying to reach Cold Steel/Reverie/Kuro was a bizarre decision to make. End of thought.

Nayuta is a strange little game that, as someone who hasn't progressed past Azure and has only heard of things from this game's story loosely tying into the main Trails canon, there's really no set time or need to play it to understand the main Trails story. More of an "aha" moment if you see something in a future game that calls back to Nayuta, but doesn't feel like a major gap in the Trails experience if you miss out on it. I only really know this as many of my friends who are caught up with Trails skipped Nayuta and didn't enjoy the story of the games any less.

There's something interesting about how it's chronologically the next game in the series after Azure and before Cold Steel if you go based on release date, but that doesn't detract from the fact that Nayuta is largely its own thing and can be experienced anytime, whether that be before Sky FC or after Reverie if you really wanted to. I really had no clue what I was getting into other than a friend of mine (shoutout to @Stormowl0 for this recommendation and for drawing god tier Rixia Mao art) telling me it was really good.

Rather than being turn-based strategy on a grid, this is a full-blown action RPG with sword combos, magic spam, dodge rolls, and blocking galore! I could understand this as it is what Ys seems to be like (author's note: still need to play Ys), but what I was not expecting for it to be just as much of a platformer as it is an action JRPG. Turns out innovating the series by adding a jump button was done for more than show as enemies are often fought in a linear level-by-level format with precarious jump, traps, and pits you have to make your way around in the environments. I can't remember where I've heard this but I remember someone comparing it to Kirby 64 strangely enough, and I honestly find it very fitting for both games have a similarly whimsical worlds, a balance of combat and platforming in their level designs, and a silly little fairy girl that follows the protagonist.

Nayuta definitely isn't as easy as Kirby however and this is where I think some of its greatest gameplay strength lies: in how fast and frantic combat can get when you're in a pinch. It's not necessarily the most deep or thought provoking combat out there, you can spam magic quite a lot of the time to negate some challenges and swinging your sword mindlessly doesn't heavily punish you and is even encouraged at times. But playing on hard mode still required me to respect what enemies could do and at least know how to position myself and pull off timely dodges/blocks to not get obliterated by the high damage. Bosses were some of the most demanding parts of the game where magic spam was largely ineffective and you have to rely on playing aggressively to open up a weak point you can slash. The bosses in general were fantastic. While it may sound like average good video game stuff based on what I described, let me put it like this. Remember Twilight Fossil Stallord from the Legend of Zelda Twilight Princess and how, despite being another use-the-dungeon-item boss, the second phase had his head come off and you chased him down on your spinner in a thrilling, high-speed encounter? Imagine if nearly every boss had a cool twist like that, but was never gimmicky to the point where the base combat you know first and foremost isn't shafted (except in one boss which was the worst in the game because of this lmao).

The story while not connecting to the rest of a series as is often seen as a strength of the Trails series above other JRPGs, Nayuta has a similar general structure to its plot going from very, very, humble beginnings and then turning into Xenogears by the very end. It's much faster paced than even the shortest individual Trails game, so the characters don't quite the same level of screentime they would in Trails, but it was still enough to tug at my heartstrings and even get me misty eyed in some of the later scenes.

I'm very well aware at how disorganized and all-over the place these thoughts are, but it's honestly just kind of hard to sum up what kind of game Nayuta is. It takes so many elements from other games as it creates this fascinating JRPG-platformer hybrid with wild creativity and endearing characters and storytelling. It's something that, while not blowing me away quite to the extent that the Trails games all have so far with their jaw-dropping narratives at times, really clicked with me and carried the experience.

Genealogy of the Holy War is almost less of a game and more like a story that you interact with. If it wasn’t for the near unrivaled mix of worldbuilding with gameplay I would not like FE4 as much as I did. Despite birthing some elements that would be integral to Fire Emblem as a franchise going forward, it’s also the most unique entry in the series by far. Even with all of its influence and acclaim, not ONE game past this has ever tried replicating everything this game did. Some of that could be attributed to the new systems being seen more as flaws rather than benefits, or the sheer complexity maybe too scary for newer players. I’m not sure.
I finished this game over a week ago, and I’ve been banging my head on the wall trying to figure out what to say. I feel like I need to get the word out of what this game is, but it’s just not fully coming to me. I’d love to write a review as long as a single enemy phase in this game but I really can’t do that as much as I try. So I’ll suffice by writing something shorter while explaining why YOU should at least experience this game once.
War. Legacy. Succession. Betrayal. Tragedy. These are all themes that Genealogy of the Holy War focuses on. Fire Emblem has.. well obviously always been about war. However Genealogy, out of all the games I’ve experienced, delves the most into the pure tragedy and unfairness of what war is. There are so many moments where you just.. can’t save everyone. The other games have similar moments, but this one melds it into the gameplay so perfectly and precisely. Every map is vast with history, communities, and density. They genuinely do feel like actual locales rather than “a video game level”. That goes both to its benefit and detriment from a gameplay perspective, but from a story perspective, it’s pure bliss. We follow our heroes through lush forests, sprawling plains, harsh mountains, scorching deserts etc. You slowly proceed through this seemingly endless war, each map becoming more and more hopeless.
I should also preface that you need to experience this story blind. I know it’s very hard to do as such with how much the middle plot twist is spoiled to everyone, but I encourage you to stay as blind as possible. Genealogy’s narrative is fantastic, not only for a Fire Emblem game but for a piece of media in general. Seliph is one of my favorite video game characters of all time because of how we follow his journey from suffering a harsh young life, but growing to become a fine young man himself capable of what his mission is. Once again, I’m not going to elaborate so the reader can find out what happens themselves, but the story is, no exaggeration, simply masterful.
Generational storytelling is one of my favorite tropes of all time. Seeing how descendants of a generation will remedy the mistakes, regrets, or failures of their predecessors has always been so engaging to me. While Genealogy's latter half isn't nearly as narratively complex as the former half, it's story about the next generation of heroes is among one of my favorites for this trope. Ily Seliph.
Presentation also goes a long way, of course. Every music track in the game adds to the atmosphere so heavily, it’s easily one of the best soundtracks I’ve heard on the Super Famicom. Some tracks were so masterfully composed I nearly shed tears, I couldn’t believe how well it played me especially when I can rarely cry at soundtracks anymore. The graphics can be hit or miss, especially with the character portraits, but the maps and environments are top notch. I could really look at them for so long.
I think that’s pretty much all I could think of to say about Genealogy of the Holy War. As a game… it’s a mess. Possibly even objectively bad. But as a story, a piece of artistry… it’s an undeniable masterpiece. It’s certainly not for everyone, I’m aware, but it is worth experiencing in full at LEAST once. Not my favorite Fire Emblem because of the gameplay, but definitely the best narrative and cast of characters in my eyes.
Also ever notice how so many of the people who say this game sucks (or other classic FE games for that matter) are Three Houses fans or have Three Houses pfps? curious ….

To anyone who has played Alan Wake II, it is very clear what the moment of the game is, perhaps, the undeniable best moment in a game this year. Up until this point, Alan Wake II has already been an incredibly impressive showcasing of over two decades of Remedy’s work, both technically and narratively. An absolute juggernaut of art direction and writing that is almost completely unprecedented in the video game space, that has shown a true mastery of the cross-media shooters that Remedy has made their definitive image. And it is truly impressive, but if you’ve played the games leading up to this game, almost one question is surely on your mind, which is simply. “When is that moment going to happen, and how is it going to rock my world this time?”

Old Gods of Asgard, or as their real life counterpart Poets of the Fall, have been an instrumental figure in Remedy’s work since Max Payne 2. Their music has played in just about every title, and on almost every occasion it is one of, if not, the highlight of the game. In the original Alan Wake, the band was not just present, but a vital part of the story, personifying the band into an almost parody 80s heavy metal duo, who’s story takes up a good chunk of the game. With the highlight almost certainly being when you take the stage for yourself and take on a hoard of enemies as a truly glorious cheesy metal song blasts away as you shine lights onto a truly ravenous crowd.

In Control, the moment you realize what you’re playing is essentially a sequel to Alan Wake, is the Ashtray Maze. A location that is built up early on in the game, and as you approach the climax, it becomes clear you will have to traverse this bizarre labyrinth. And as the time finally comes to best this maze, a familiar name pops up, completely sucker punches you with the shock, followed by the aftermath of playing one of the best levels in video game history. Control’s strong art direction, using simple tricks to make these impossible brutalist locations, make the Ashtray Maze mesmerizing. A simple repeating texture, yet it feels infinite. It feels larger than life. And its Old Gods of Asgard that is to thank for that, when they come on in a Remedy game, you know something special is going on.

In that regard, like many things, Alan Wake II has much to live up to. How do you pull that same trick again and make it feel fresh? And the answer is very simple, and almost inevitable.

Go the full mile.

The moment you get the option of playing as both protagonists in this game, when you decide to play as Alan Wake again, this moment of the game is ready to greet you. And even before the chapter really starts, you can tell that something is up. There is an almost infectious pride and joy on display here, as talk show host, Mr. Door hypes up Alan Wake and his unique interview he is about to conduct with their house band. You even get to see the creative lead, Sam Lake, do a stupid little dance as they drop on you, “Herald of Darkness: The Story of the Journey of Alan Wake: The Musical”. At this point, you know Remedy is about to drop their classic trick on you, and they’ve not been shy about showcasing it after release, even getting a huge Game Awards showcase showing the music, so I had an idea of what was about to happen. But nothing can prepare you for what follows afterwards.

The Herald of Darkness segment of Alan Wake II is a true masterclass of everything Remedy has led up to this point. Because this is not just an arena or a level set to an Old Gods of Asgard song, no, the song is the level. A four act musical that does indeed, document the life of our titular protagonist, in a way that feels larger than life. The whole level is essentially like a rollercoaster dark ride, using screens to get you further and further into the maze to make the song progress a bit further and further. All these screens use live action footage of the actors, which isn’t uncommon to Remedy, and definitely not in Alan Wake II, which at this point, you’ve seen a truly staggering amount of, but seeing everything on display in this level is something else. Like Control, the trick is simple. It is essentially just a bunch of video files that are being strategically used to craft a narrative. But that simplicity doesn’t take away from that raw feeling of “this is the best thing I’ve ever seen.”

As you progress further and further into the level, it paints a picture of Alan Wake, arguably, the character that Remedy has put the most time and effort into crafting. And I think this portion of the game is honestly essential to really solidifying Alan as a character. While none of what is sung about is new information, a lot of it is information that was never really a particular focal point of the first game. Having bits where you can see Alan’s bizarre childhood nightmares that led to his success as a writer, and having that success turn into frustration and stagnation with his middling writing is incredibly interesting. And seeing it play out in song form with the actors tossing around white powder, and getting increasingly more hostile in the second part, is not just a striking way of getting attention, but it really makes Alan feel more like a legitimate character as in comparison to the first game.

I think a truly striking part of this section of the game, is that for the most part, there isn’t too much in the way of gameplay up until this part; at least in comparison to what you were doing prior. Alan Wake II is a game that isn’t necessarily trying to blow audience’s minds with the gameplay loop like they were in Control, and it works completely fine. Yet in spite of being a relatively simple over the shoulder shooter game, II has a gameplay moment that gave me absolute goosebumps. A moment that solidified that this was not just the best moment of the year, that Alan Wake II was almost certainly the best game of the year, but indeed, a moment that made me realize it might be the best of the decade.

Act III of the song is truly a special moment of the game. A nostalgic remembrance of the first game, but instead of the beautiful Washington countryside, it is instead made up entirely of screens, and props. A beautiful fake memory. And a moment that made me feeling rosy eyed memories of a game I only just played last year; and one I’m not even super crazy about in retrospect. But its that love and detail you can feel the folks at Remedy do have for this title that comes through, and that is what matters. And then the moment happens. Just as you’re remembering everything. You get maybe the best ally you could possibly receive in that moment, the iconic Alan Wake flare gun. And in that moment, the Taken come out, and you absolutely torch them, as the Old Gods rage on to your glorious rampage. It is a moment that you can only dream of creating. It is the perfect blend of build up, satisfaction, character building, and serotonin activation that can only be achieved through pure raw music. It is a titan of game design, and something that could’ve only been crafted through a lot of love, care, and experience.

Of course, this isn’t the end of the song, but at this point, as unfortunate as it is. It is time to wrap the song up. Nothing can last forever. Even Alan Wake agrees to a bossa nova version of the song, to which he does a little jig to. And so, using a new gameplay mechanic of changing the location, through Alan’s writing, you enter a new scene to end the song. A full live action dance number to round off this absolutely incredible level. A moment of pure stupid bliss. Capping off with a confused, but ultimately satisfied Alan Wake, looking on and smiling as he sips a coffee, to this truly bonkers musical number, about how absolutely mediocre his life is. I truly love this level, and just about everyone else who has played this game can back me up. It is truly in a league of its own, and likely will not be replicated again in just about any game.

It feels a bit strange to only write about one moment in a game, presumably one with plenty of memorable moments. And trust me, there are a whole bunch of other scenes and moments I could heep undeniable praise for. But honestly that is the whole game for me. Just about every set piece, every level, every performance, is something as interesting as this, even if it isn’t perhaps as flashy or as overt as this one moment. Alan Wake II isn’t a flawless game, its gameplay is essentially just a more stripped down Resident Evil 2 (2019), and sometimes the pacing isn’t perfect. But I really don’t care. Remedy as a studio has been an endearing and wonderful game studio, not because they make the best polished games, but because they’re constantly making games that are undeniably interesting. Alan Wake II feels like that ultimate melting pot of ideas that they’ve wanted to achieve since the first Alan Wake title, fully realized into a truly special multi-media project. A game that truly promises to cash in on everything that makes the studio one to look out for, and something I’ve been thinking about the entire month as I was playing it. There are times when you know something is special, and this is just one of those undeniable moments.

Here’s to the Champions and Heralds!

📜Alan Wake.. Wake.. I remember that name.. Cauldron lake.. Alice.. after 13 years, the Dark Pressence found funding, oh No.. it broke free again,
It`s apostle is Sam Lake, ̶g̶a̶m̶e̶ director of the Finnish studio Remedy, his mind was helpless,
"Control" - his sixth work, has finally gained long-awaited recognition,
The writer couldn`t even imagine how addictive this is:
Complete creative freedom, several famous world franchises, tons of invisible gratitude from readers, he just couldn’t stop...
He had to overcome the boundaries of reason, there will never be enough lore.. fans will always need theories, no one will be satisfied with the story visible on the surface, the original put him in a trap.. His secret trigger clicked.. The Dark Presence needed his art-house elements,
Who else is capable of adding this to a high-budget product? There are no such entities in the industry.. the japanese was too self-sufficient, he isn`t suitable..
The bottomless ocean has achieved its goal, the accomplices of the interactive world will not receive all the answers, but thanks to them it will live,
They will play again and again, even after completing all the sequences,
They will wait for the trilogy, they will let the infection spread.. ̶g̶i̶v̶e̶d̶.. the endless cycle of their mortal life will bring new subjects, even if the author delays development, ̶b̶o̶o̶k̶?̶

Walking in a loop you can get lost, failure after failure, misunderstanding of mismatched criteria, injustice of the business world,
However, the warrior of light (pelattavuus) will not give the nightmare complete Control,
subjects ̶R̶e̶m̶e̶d̶y̶ have already tried, but sometimes it`s useful to turn the page, the setting is the key, find something that fits perfectly..
Who would have thought.. it will be difficult for readers to accept the gift of a warrior, but those who persist will be rewarded.. are they ready for their role? An easy walk will become a heavy burden, the intrigues of the story will seem incredibly distant, the lack of usual dynamiсs can break even long-time admirers,
The warrior didn`t achieve perfectionism, but the totality of competent ideas was enough to amaze, the famous classics had to be mixed with ideas of light, the usual formula doesn`t look hackneyed with proper professionalism of the performer, The Forest - is an excellent sandbox for the designer: atmospheric work of artists and a branching paths for the character, the danger of spending source charges, stylish screamers, crazy puzzles, dangerous encounters, and suddenly difficult at first, but varied bosses.
But one guide is not enough, Mies for those who have already been with the Presence, and Saga Anderson, with its story, it`s closer to reality, but not as far as it was originally written, and the necessary excursion is provided by the simple ̶g̶a̶m̶e̶p̶l̶a̶y̶ elements of a detective story,
The other half of the ̶g̶a̶m̶e̶ significantly changes the formula, relying on an even denser atmosphere of an open location, an abundance of resources, and the absence of bosses, rewriting action scenes and a tricky trap system.
The flexibility of the story allows you to choose the sequence yourself, leaving only the epilogue inaccessible for both actors, which masterfully interwined everything together, leaves no shortage of plot twists, it`s replete with pleasant references to the original, and rob the audience of a clear ending, shoots right in the heart before the credits.
The game will not leave the reader indifferent, The Dark Presence was able to complete its task, the average number of impressions of the subject exceeds any comparisons, the actors of the musical art also contributed to the creation, original compositions with lyrics complementing the narrative, one of the many unique manifestations of "Alan Wake II", the apogee-culmination of it`s creative energy can be credited to the interactive musical number "Herald of Darkness" from the middle of the game.
̶.̶.̶.̶.̶.̶.̶.̶.̶.̶
Perhaps you will find something new by re-reading the review from the beginning, because we know that this is not a loop, this is a spi... ̶ ̶S̶C̶R̶A̶T̶C̶H̶...

//
📜Алан Вейк.. Вейк.. Я помню это имя.. Озеро Колдрон.. Эллис.. спустя 13 лет, тёмная обитель нашла финансирование, о Нет.. она снова вырвалась на свободу,
Её апостол - Сэм Лейк, геймдиректор финской студии Remedy, его разум был бесспомощен,
"Control" - его шестое произведение, наконец-то обрело долгожданное признание,
Писатель не мог и представить, насколько сильно это затягивает:
Полная творческая свобода, несколько известных мировых франшиз, тонны незримых благодарностей от читателей, он просто не мог остановиться..
Он должен был преодолеть границы разумного, лора никогда не будет достаточно.. фанатам всегда будут нужны теории, никого не устроит видная на поверхности история, оригинал поставил его в ловушку.. Щёлкнул его потаённый триггер, тёмной обители были нужны его элементы арт-хауса,
Кто ещё способен добавить такое в высокобюджетный продукт, в индустрии нет таких сущностей.. японец был слишком самодостаточен, он не подходит..
Бездонный океан добился своей цели, пособники интерактивного мира не получат всех ответов, но благодаря ним он будет жить, Они будут играть снова и снова, даже завершив заданную для них последовательность,
Они будут ждать трилогию, они дадут заражению распостраниться.. ̶д̶а̶л̶и̶.. бесконечный цикл их бренной жизни принесёт новых субъектов, даже если писатель промедлит с разработкой, ̶к̶н̶и̶г̶а̶?̶

Шагая по петле можно заплутать, неудача за неудачей, непонимание несовпадения критериев, несправедливость мира в бизнесе,
Однако воин света (pelattavuus) не даст кошмару полного Контроля,
субъекты ̶R̶e̶m̶e̶d̶y̶ уже пытались, однако иногда бывает полезно перевернуть страницу, найти ключ поможет сеттинг, найти то, что идеально впишется..
кто бы мог подумать.. ̶г̶е̶й̶м̶е̶р̶а̶м̶ читателям будет сложно принять дар воина, но упорствующие будут вознаграждены, готовы ли они к своей роли?
Лёгкая прогулка станет тяжеловесной ношей, интриги повествования будут казаться невероятно далёкими, отсутствие привычной динамичности cможет сломить даже давних почитателей,
Воин не достиг перфекционизма, но совокупности грамотных идей достаточно, чтобы поразить, известную классику предстояло смешать с идеями света, привычная формула не выглядит заезженной при должном профессионализме исполнителя, Лес - прекрасная песочница для ̶г̶е̶й̶м̶дизайнера: атмосферная работа художников и разветвлённость пути для персонажа, опасность расходования зарядов источника, стильные скримеры, безумные головоломки, опасные энкаунтеры, и, внезапно сложные по началу, но разнообразные боссы.
Но одного проводника недостаточно, Mies для тех, кто уже был с обителью, и, Сага Андерсон, со своей историей, она ближе к реальности, но не так далека, как было написано изначально, а необходимый экскурс обеспечивают ̶г̶е̶й̶м̶п̶л̶е̶й̶н̶о̶ простые элементы детектива,
Другая половина ̶и̶г̶р̶ы̶?̶ значительно меняет формулу, делает ставку на ещё более густую атмосферу открытой локации, избыток ресурсов, и отсутствие боссов, переписывание сцен действия и хитрую систему ловушек.
Гибкость истории позволяет выбирать последовательность самому, оставив недоступным лишь эпилог для обоих акторов, мастерски перереплетающий ̶s̶i̶l̶m̶u̶k̶k̶a̶ всё воедино, не оставляющий дефицита сюжетных поворотов, изобилуя приятными отсылками к оригиналу, и, лишая зрителей ̶к̶и̶н̶о̶?̶ ясной концовки, стреляя прямо в сердце перед титрами.
Игра не сможет оставить равнодушным, тёмной обители удаётся выполнить свою задачу, среднее количество впечатлений субъекта превышает любые сравнения, акторы музыкального искусства также содействовали в создании, оригинальные композиции с дополняющим повествование текстами, одно из многих уникальных проявлений "Alan Wake II", апогеем-кульминацией творческой энергии которого можно считать интерактивный музыкальный номер "Herald of Darkness" из середины игры.
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Возможно, вы найдёте что-то новое, перечитав обзор сначала, ведь мы знаем, что это не петля, это ̶с̶п̶и̶.. ̶ ̶S̶C̶R̶A̶T̶C̶H̶...