77 reviews liked by Haise1003


Depois de quase 4mil horas de cs go, e 8 anos gastos naquela bomba, esperei muito o lançamento da Source 2, mas meu deus, lançou exatamente o mesmo jogo que o anterior só que incompleto.
Esperei um tempo pra fazer a review, pois achei que com o tempo as coisas melhorariam, mas continua igual.
Cs 2 tem problemas novos, e ainda por cima herda problemas do seu antecessor, isso é inadmissível, a diferença de lançamento de um pro outro é mais de 10 anos, é uma incompetência gigantesca da valve.
Começando pelos poucos pontos bons:
- A qualidade gráfica do game surpreende, é bem bonita, embora muito clara
- O Modo Premier é uma boa adição, mesmo que seja uma base crua, e o sistema de pontos seja bem menos interessante do que Patentes
- O novo tickrate, por mais que esteja problemático melhorou a fluídez do jogo
- Acabaram os pontos bons
Sério, é muito frustrante esperar anos pra sequencia do game que você mais jogou na vida, pra no fim ele ter 3 pontos positivos marcantes.
A comunidade inteira esperava que eles arrumassem o que destruía o jogo anterior, que eram o hackers, e literalmente não mudou NADA, continua fácil xitar e difícil de tomar ban.
O matchmaking ainda é HORRÍVEL e desbalanceado, os jogadores são sempre de níveis completamente diferentes, eu com um tempo bizarro de jogo como disse no começo, e uma alta pontuação, entrava em partida com pessoas que tinham começado a jogar CS a uma semana.
O jogo tem uma performance péssima, é muito mal optimizado, tem quedas de frames bruscas em vários momentos, e em geral roda muito mal.
Tem bugs pra todo lado, muitos foram consertados, mas sempre que são corrigidos aparecem mais 3; Antigamente tinha um bug que o player aparecia na sua tela na diagonal, foi até apelidado de bud do Michael Jackson, e hoje em dia tem bugs de voar, esconder a c4 o round todo, ver por trás de paredes, é uma completa BAGUNÇA.
O hitbox do jogo ficou problemático, o do csgo tinha seus problemas aqui e ali, mas nesse game se superou, o negócio é péssimo.
Além de tudo isso lançou faltando MUITO conteúdo, vários modos excluídos, como corrida armada e danger zone, comandos que simplesmente eram extremamente usados como o de trocar o lado de segurar a arma, até hoje não existem e mais um monte de coisa.
Enfim, é muito triste, eu realmente acho que esse jogo tem espaço pra entrar nos trilhos, porque por mais que tenha um monte de problemas, eu ainda gostei dele, mas foi muito frustrante ver o que aconteceu, a Valve pode ter o histórico incrível que tem, mas ela vem decepcionando à muitos anos.

Burros dizem que é ruim, mas só os gênios entendem a gransiosidade dessa obra prima.

Ricardo S2

OVERVIEW

In the year 2004, Trokia Games, a studio comprised of lead designers of Fallout fame, released Vampire The Masquerade: Bloodlines. A classic RPG unlike anything before it and still unlike anything that has come after it. Like the Masquerade itself, VtM:B is a beautiful game hidden in plain sight.

2004 might have been the year of Half Life 2 and Metal Gear Solid 3, but VtM:B was and still is being slowly discovered by ravenous fans such as myself who never miss an opportunity to let people know that this game has aged like fine blood red wine. This is wrongly considered a cult classic. It is an outright innovative masterpiece and its time we treat it like so. It's legend has grown over the years and it's novelty as a one-of-a-kind video game gets stronger with every year a sequel (or even a similar game) ceases to exist. Like a vampire, born of Cain, I am here to draw you in, suck your blood, and Sire you into the undead world of darkness — the Masquerade!

VtM:B is the kind of video game where there is a world before you played it, and a world after you played it. This masterpiece ticks so many boxes that you want more more meat on the bone in every subsequent game you play afterwards. It has the vibes of a classic Hollywood Noir — it is confidently sexy, dramatic, and alluring while simultaniously cool like a Tarantino film. The character dialogue is smooth, natural, and cool like a Reservoir Dogs anecdote about Madonna's Like A Virgin or something out of the mid-90s indie film renaissance. The world is completely novel in it's night time portrayal of modern Los Angeles, full of (hidden) vampires, criminals, mob syndicates, and average joes just milling about at clubs or diners. The plot rivals the best crime stories and mysteries while simultaniously being dynamic and adaptive. The vampires themselves have incredibly distinct clans, philosophical viewpoints, styles, dialect, appearance, and of course, skills and abilities. As an Immersive Sim, the gameplay differentiation between the clan you choose can substantially change how the game plays and functions wholesale. In VtM:B, your freedom to play how you want is in the league of other sim classics like Deus Ex or big RPGs like Divinity Original Sin.

This game is firing on so many cylinders that I wish every other game was on it's level. I wish the clubs in Mass Effect had thumping rave parties with Industrial Metal and New Wave music by Marilyn Manson and Ministry blasting so loud that the characters at the bar have to raise their voice to be heard. I wish Fallout 3 and 4 have meaningful choices in story outcomes. I wish Cyberpunk 2077 actually gave me the freedom to approach quests and combat however I want or react to who I am, how I look, and what I am doing.


CHARACTERS

Hidden in plain sight are the vampires of the masquerade. Depending on which clan you ask, the vampires of VtM:B are descendants of the biblical Cain, the first muderer. Although the vampires share a common ancestor, they draw distinctions of lineage in their clans (classes). Each clan has a distinct culture, sense of ethics, and appearance. These clans are unlike other common classes in RPGs.

Mirroring real life, VtM:B's characters thrive because they celebrate our differences, not our similarities. Each individual has their own fashion sense, way of speaking, and motivations. Above all, they are really really cool. They dress cool, they look cool, they talk cool. I've tried to show examples of this in these Polaroids[flic.kr] I've made. Even background NPCs have a lot of style and personality.

One of the best examples of this individualism is the extremely well written Malkavian character, Therese Voerman. Without spoiling anything, her madness plays a role in one of the most interesting quests in modern gaming. Like most characters in VtM:B, Therese is three dimensional with a sort of film-like star power that oozes through the screen. Her office looks like she means business. She acts like she's the boss in town, and she dresses with this sexy yet powerful stature. The characters in VtM:B are lifted further by excellent voice acting from some top tier voice talent such as: Phil Lamarr, Steve Blum, John Dimaggio. It is worth noting that the animation, especially the facial animation, was mind blowing in 2004 and still better than some RPG games today.

The world building of the vampire clans feeds into the individual character writing, appearances, and aesthetics which creates such strong characters who feel so original not only towards one another, but original when compared to other more generic fantasy characters in other games. Some people look like trench coat assassins out of The Matrix while others have this 2000s punk rock raver vibe. Some people like Fat Larry are just cool dudes from the streets. In the end, these characters aren't defined by their clan, but by their backstories and motivations. One motivation in particular is central to everything in VtM:B's plot — the Ankaran Sarcophagus!

STORY, QUESTS AND GAMEPLAY

The Ankaran Sarcophagus is a film-style priceless "MacGuffin" that the player and almost every vampire kindred NPC is after. Think about the money (or rug) in The Big Lebowski, the diamonds in Pulp Fiction, or the Ark in Indiana Jones. Everyone wants it and it's up to you about how you get it. Which leads to one of the best qualities of VtM:B — the freedom of choice in gameplay.

Having the MacGuffin through line with everyone's twists, turns, betrayals and motivations is really fun and cinematic, but in the end, it is a good plot-based storytelling device. Where VtM:B shines is in it's RPG-Immersive Sim gameplay and quest design. The game pulls it's stat sheet directly from the TTRPG the series is based upon. In the stat sheet alone, you have an immense amount of choice in your build. But like any good TTRPG, everything in this game is simulated around your choices: your clan, your discipline, your skills talents, etc. Without getting into the nitty gritty, the gameplay is dynamic and deep without bogging you down staring at a stat sheet for hours on end.

Quests are the meat and potatoes of any great RPG game. VtM:B has the best combination of main and side quests in any RPG I've ever played. The main quests follow everyone's pursuit of the priceless Ankaran Sarcophagus taking you through haunted hotels that reveal intimate life events of characters in your travels, nights at spooky musems, or Scarface-like mafia strongholds. The side quests are really something different. This is where the game gets to shine in its modern setting. These quests have the player character rubbing elbows with Hollywood producers trying to recover a snuff film, convincing hobos they didn't see a gruesome vampire murder, or clearing out business loans from predatory sharks. Every side quest is etched in the dark nasty realities that is the underbelly of LA crime.

9.5/10

"I wonder whether knowing the truth would have helped me overcome the grief or not. Maybe if I'd known, I wouldn't be forced to live the life I do now."

Beautiful. Amazing. So glad I managed to finish this before closing out the year, the Kyle Hyde duology is a must play during December. Didn't manage to play a chapter a day to go with the chronological events but it's still a dazzling atmosphere nontheless.

There's always a melancholy associated with the end of the year for some. You think about what you've done all year round and what you failed to do, you try to put a smile to your friends and family at get togethers while hoping the future won't weigh you down as much as your past has, and that's pretty much the main theme which both of Kyle's games work with.

Aside from the great quality of life additions (I love how this game has a novelized version of itself to read along with the backlog in case you're a dumbass like me and forget what you're supposed to do every 10 seconds), you can really tell that this is an expanded version of Hotel Dusk. This time being a lot more personal given it's about Kyle's father and him trying to have closure with the ghosts of his pasts that have been literally living under his roof.

While some might feel it's contrived that for the second time in his life, every single character in this game is directly tied with each other's past to help Kyle out in the mystery, there's a sence of mundanity to it all that makes you realize that truth is stranger than fiction. We're all sulking about the past in one way or another, having a larger, unsolved problem in our lives that we tend to put on the backburner indefinitely because we need to function in our day to day, distracting ourselves with either work, our social life or even with lesser problems, there are things we can't process and make peace with because all in all, we're just trying to get through the day.

While the anticlimax in Hotel Dusk works because you can't expect all the character's life problems be solved in just a single meeting, there is a feeling that everyone can and hopes to move on from what happened which feels even more powerful here given what we know about Kyle, while being bitter in his own way, he still unconsciously finds himself helping tenants he barely exchanged a word with off of sheer circumstance, but also because he knows no one else will do it.

R.I.P Cing. You went out too early but you shone with the brightest of supernovas. Hopefully the Another Code duology sells well enough for us to see a remake for these games too. Happy New Year, folks.

"There are so many people around the world forced to keep burdens on their own. And one thing's for sure: I'm one of them."

Existem coisas na vida que só se vivem uma vez.

it's impossible for such a big game to be devoid of imperfections, but for every bruise and wrinkle there's about 10 more things that impress me, engaging tactical boss fights, memorable story moments and characters, choices that really felt my own and so on and so forth
I've already spent so much time with this game and yet...there's still so much more that I missed, and I know that it will receive even more updates and likely a definitive edtion of sorts but even as it is I hardly need any more reasons to go back to it many more times
I may not have anything new to say about it, but my experience with it felt personal and unique enough already

Far too early to speak on this with any authority, but some early thoughts:

• As with Divinity: Original Sin 2 the potential for roleplay immediately crumbles if not playing as an origin character. Especially damning since they are all locked into a specific class and race except for the Dark Urge.

• Dialogue options being marked by skill checks and background tags deflates them. It would be more fitting for certain options to have the checks/tags but not convey this to the player until it is time to roll. If I see an option tied to my one-of-like-six background choices, I effectively have to pick it so I can get Inspiration. As for the checks, I can prep the face of the party with Guidance, Charm Person, Friends, what have you. Which itself leads into...

• Despite being a four-member party game, the other three characters might as well not exist for the purposes of dialogue. If you're lucky you'll see one of the origin characters milling about in the background of a conversation, but the person/people I'm playing with are forced to listen and suggest options. So just like with real 5E, it's best to have one person do all the talking since only one person can anyways, further displacing non-faces from the story they are meant to be involved in.

• Origin characters all talk like they're YouTubers, falling into a pillow at the end of a sentence, a permanent vocal sneer tainting each word (except for Gale). There is no space for subtlety in their characterisation either, their MacGuffins and driving purposes laid so bare like the Hello Neighbour devs trying to get MatPat's attention.

• Without a DM to actually intervene, to interpret the players' wishes, anything requiring interpretation is simply gone. Nearly every spell that isn't a very simple effect or damage dealer? Absent. This leaves players with options for what colour of damage they want to do, or what one specific action they might like to take. Creativity spawning from these bounds is incidental, not intentional.

• The worst part of 5E, its combat, is not improved in the slightest here, and if anything is actively worse. One of the great benefits of the tabletop setting is that the numbers are obfuscated. Statblocks need not be adhered to. Players typically don't know the raw numbers of a creature's health or saves unless they clue in through what rolls succeed for saves, or keep a mental tally of damage done before the DM says they are bloodied. The DM has the option of disclosing information, but here the player is forced to know everything. Every resistance. Every hit point. Every stat point. Every ability. Combat cannot be creative as a result because the whole of its confines are known the entire time. You even know the percentage chance you have to hit every spell and attack. It makes it all hideously boring.

• If spells are going to be one and done boring nothingburgers, the least Larian could have done was not have some of them, like Speak with the Dead, be tied to a cutscene that tells me a corpse has nothing to say. I get it, the random goblin body I found probably isn't a font of lore, but do you need to take me into a scripted sequence of my character making a concerned face with their fingers to their temple as I am told for the eighteenth time that it has nothing for me.

• When spells are being learned, there is no indication as to which are rituals and which are not, nor are there options to sort or filter choices. With so few choices maybe it doesn't matter.

• Despite a bevy of supplementary sourcebooks giving players countless options for their characters, you're stuck with primarily the base text. Perhaps it would be unrealistic to wish for every subclass, every spell, every feat, but not knowing this narrow scope beforehand meant my hopes for, for example, a College of Glamour Bard or a Hexblade Warlock were dashed. Without the spells that make those subclasses interesting, however, I suppose they might as well be absent.

• The 'creative solutions' of stacking boxes to climb a wall or shooting a rope holding a rock over someone's head are not creative, they are blatantly intended and serve only to make the player feel smart for being coerced by the devs into a course of action.

• The folks eager to praise Larian for not including DLC seem to have missed the Digital Deluxe upgrade that gives you cosmetics and tangible benefits in the form of the Adventurer's Pouch.

• As touched upon by others, the devs are clearly more invested in giving players the option to make chicks with dicks and dudes with pussies than they are in actual gender representation. This binarism only exacerbates how gendered the characters are. With no body options besides "Femme, Masc, Big Femme, Big Masc" and whether you're shaven and/or circumcised, the inclusion of a Non-Binary option becomes laughable if not insulting. Gender is expressed and experienced in countless ways, but here it comes down to your tits (or lack thereof) and your gonads. No androgynous voice options. No breast sizes. No binders. No gaffs. No packing. The only ways for me to convey to fellow players that my character is anything besides male or female are my outright expression of my gender, to strip myself bare, or hope the incongruity between my femme physique and masc voice impart some notion of gender queering. Maybe this is great for binary trans men and women, but as a non-binary person it comes across as a half-measure that seeks to highlight my exclusion from this world. More cynically, this, alongside Cyberpunk 2077 read as fetishistic, seeing the trans body as something for sexual gratification, rather than just that, a body.

I'll keep playing it, but damn if my eyes aren't drifting towards playing a real CRPG for the first time.

O GTA e o protagonista mais SUBESTIMADOS de toda a franquia.

Uma galera que curte a série GTA não se apega muito por este game e eu consigo compreender totalmente o motivo:

A história de GTA IV é a mais séria e profunda de toda a franquia. Além disto, "Liberty City" tem uma atmosfera totalmente diferente. GTA IV é denso, pesado e real, mostrando os efeitos colaterais e traumas de uma pessoa que participou de uma guerra.

Sua jogabilidade também é a MAIS REAL de todos os GTAs (Sim, mais real que o GTA V, em questão de JOGABILIDADE). A direção dos carros é SUPER REAL, o mesmo acontece com o sistema de tiro do jogo. Uma física surpreendente até mesmo pros dias de hoje.

Niko Bellic também é um dos protagonistas mais bem desenvolvidos da série (FACILMENTE carismático com sua ironia).

O desenvolvimento da história é ótimo (As escolhas feitas durante a gameplay são ótimas e abrilhatam o game).

O "único" contra do jogo e seu maior problema é a falta de otimização (Eu lembro de zerar ele no Xbox 360 e NOSSA, era muito bug de textura, principalmente ao acelerar muito com o carro, a cidade simplesmente não renderizava). Teve algumas boas vezes que o jogo simplesmente engasgou.

Niko!! Let's Go Bowlling!!

PRÓS:
- História e protagonistas MUITO BONS.
- A física do game.

CONTRAS:
- Alguns problemas de perfomance.

jogo merda tudo igual os combate eu odeio chines