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2020

This whole thing took me on a roller-coaster of emotions quite unlike any other. it made me experience just about every single shade of emotion from all across the freaking specter. Joy, pleasure, heartbreak, sadness, horror, and yes, boredom as well. Especially boredom, specifically during the second third of the game, when it leans too heavily on its cutesy JRPG roots, with an overdose of silly side content and overbearing instances of plain meh combat. The thing that brought it all home for me was realizing just how intentional those sections become in the grande scheme of things; maybe not their quality per se, but just their presence made the game feel a lot more whole and emotionally fulfilling -- Omori is possibly the most holistic game I've ever played!

The impression it leaves me is a great one. Omori is, in my opinion, of the finest, scariest, most poignant and least pretentious explorations of trauma and mental illness ever conceived as art.

I have a tremendous amount fondness for it. A fondness I'll carry with me well into the future.

I also never ever ever intend to play it again.


Probably THE essential game for the metamodern youth. Let us all fight for the burning future.


The distilment of the immersive sim to its barebone essentials, and yet, AND YET, it works wonderfully well. I find it absolutely fascinating how the roguelike trend has unearthed further potential from myriads of game genres, and this one right here has to be one of the very best. Deathloop fails quite a bit in the narrative department -- its tone is all over the place, none of the characters feels the least bit likable, and it ends with a bit of a wet fart --, but holy shit, is it enjoyable to fuck with.


Even better than I anticipated it being. I already knew this would fit me like glove when I saw videos of it, but I couldn't really anticipate just how much guts this game had before playing it. It's linear as pencil, but Asobo know always how to make it work and work well (maybe except for the AI, which... is not good). There's a constant flux of new scenarios and ideas being thrown in your way, which are exceptionally well paired with the narrative being told, a coming-of-age tale that probably hits just as hard or harder than any other released in the past decade, whichever the medium. And it consistently looks gorgeous, with some of the best art design ever put into a videogame. Many games try to capture the feeling of a moving paiting, but this is one of the very few who consistently succeeds at it. I'm damn near speechless that a small french studio managed to craft such a beautifully realized game on what probably was a shoestring budget. Beyond excited for Requiem.


Interesting concept that feels bogged down by some iffy design and pretty shoddy writing. Its ideas and themes are sometimes so poorly implemented they feel as if they exist purely for shock value. And yet, and yet!... I also felt a certain kind of obsession with it. To say that would be to sell it shortly, actually -- I REALLY fucking wanted to see how the narrative progressed, just because I wanted to know just how bonkers it could get. On that department, Twelve Minutes didn't disappoint. Shame I can't say the same about the rest of it.


Purely pixelated filth, as rotten as it is infectious. Can't seem to wrap myself around its classical FPS tropes (i.e hidden secrets galore), but it blurs the lines between subtext, text and metatext so well I end up not giving a shit. Not many people will like it -- I for one am obsessed with it, even if I don't enjoy it that much -- but, for those who do, this may just be their new playable holy grail.


Freaking loved nearly every second of this. Brings back the punk into cyberpunk, and does so with style, brains and heart in equal measure. One could argue it's simply a visual novel segmented by reflex minigames (I wouldn't really disagree), but when the writing is this good and thoughtful, really, who the hell cares??


Fun and cute little game made by a couple of friends of mine, with some cool puzzles and a gorgeous art style. Give it a look: https://store.steampowered.com/app/1419290/Out_of_Line/


2021

Pretty cool demo, looking forward to the full release.


I'm not a pure-platformer type of guy, but I found Celeste to be right up my alley. Its greatest strength, besides the pitch-perfect feeling of control over movement, is in how it ties its concept with the execution. Never has a tough game been so kind towards the player, and that's really it, the main key thing: kindness. Kindness and nurture to provide personal growth, either for your own life, or simply for the next jump.


An excellent game that's just on the edge of being a masterpiece. It's sprawling epic fantasy that never forgets to ground itself in character and emotion, even if sometimes it comes across as too one-note or simplistic for its own good. It's greatest success is in how it successfully manages to be an epilogue to the original GoW saga, a setup for a new overarching adventure, and a self-contained narrative with fully realized arcs. And it's a blast to play, obviously!


"Un jour je serai de retour près de toi."

My favorite game of all-time, only even better.


Rife with imagination, an absolute feast for eyes and ears, more-than-slightly buggy, and unapologetically stylish -- sometimes to its own detriment. It's an EXPERIENCE, unlike anything I've ever played, but mileage will vary.

Except for the "Improvisation" chapter, that one is perfect from top-to-bottom.


(campaign only review)

The first-person shooter embodiment of "all killer, no filler". Perfectly paced and structured, with one of the most charismatic companions in videogame history. I'd heard great things about it during these past five years, and only now have I played it. So, now that that's done, allow me to add my voice to the choir: Titanfall 2 is fucking excellent!