It's a testament to how endlessly expressive the combat system felt to me that I dedicated hours upon hours to creating absolutely meaningless original questlines for this game.

The definitive Dissidia experience.

A thousand guns in the tank, scrapped away in a blink.

An artistical promise that still leaves me wondering what could have been.

The violence of its politics makes it a difficult object to love - and dismiss.

Two impulses battle it out at the core of Marginalia ; lust for mystery and performative death-drive. You know the beast won't jump out of the shadows yet you dread it nonetheless, you expect a face to manifest itself far in the distance because what else could this panoptic audio landscape summon forth ?

It's impossible to avert your gaze. That's what Connor Sherlock's games are all about : Craving for the end to come whilst wishing to fade inside the screen.

A true haunting.

Thrilling until it's not anymore.

2017

Let's run a bad faith comparison just for the sake of the argument :

Diminish the admittedly inferior combat of Dark Souls and you still have a hell of a world - or half of it.
On the other hand, scrap Nioh's delicious skirmishes and you end up with, well, nothing.

Nightline makes the act of traversal an aesthetic in itself, but misses the narrative fluidity - the flowing stories, untold and everpresent - that makes it such an essential experience.

The best Destiny has ever been according to some - who knows ? - and yet still such a small thing, despite Riven, despite the Dreaming City, despite Trust being one of my favorite revolver in any game.
There's a perk called Dragonfly that allows every headshot kill to summon an explosion out of your adversary's corpse. It's the best thing this game has ever done, and that's it.

Destiny is sweet, sugar-coated doom.

Games need to learn to shut the fuck up.

1993

Vapid, yes, but thankfully not as dishonest as its Rockstar counterpart.