As far as niche, low-budget, and low-price horror games go, this is up there in the cream of the crop. While I deduct points for it having little actual gameplay, the fact that it managed to be genuinely terrifying with just a few sound effects, perfect pacing, and an actual Lovecraftian atmosphere make it really easy to recommend to anyone who calls themselves a fan of the genre.

Unfortunately, it also falls into the same horror trapping where the game encourages you to replay it, which dulls the impact of certain moments, but it's more forgivable in this case because you're more trying to piece together everything than expect more scares.

While it's extremely faithful in it's design to essentially being a Resident Evil fan game, it doesn't do a lot to become more worthwhile than just playing a Resident Evil game considering both how many there are and how often they become just as cheap as this one.

I feel the ultimate thing that makes it so unremarkable is the lack of nuance it has; despite being heavily based on RE, it doesn't nearly have as much kiting or resource management as you'd come to expect from such a game. The bosses aren't very creative either and the ending sucks.

All in all, it's fun for an extremely short romp, but there's not enough meat on its bones to justify becoming one of those people who can beat games like this in 30 minutes with the starting knife.

Highly, HIGHLY overrated, but not bad. The story is a roller-coaster in all the wrong ways; rather than swift twists and turns, it's more highs followed by incredible lows, leading to a consistency that's likely to annoy you if you give it more than the bare amount of attention just after an actually poignant moment.

It doesn't help that the gameplay encourages you to get fights over with quickly rather than have fun with experimentation, as the abilities tying into cooldowns make it feel more like an MMO than anything actually engaging. It's not terrible: it functions well enough and there are WAYS to make it fun, but the ways I found were more in spite of the design than helped by it.

You should really only play it if you're DYING to know if it's all that it's cracked up to be. Otherwise, you could probably get all the best parts from it by watching someone else do it for you.

A criminally overlooked game that fits well into the growing niche of meta-games. One of those ones that manages to make a gameplay loop that ties into the story without going so far as to break my suspension of disbelief, even though I think the characters lean too hard on a spectrum ranging from "insufferable narcissist" to "hopeless anarchist," even once you learn their backstory.

I also appreciate the game's message. If you can truly get this much fun out of simply toying with the remnants of someone else's idea, what's stopping you from making your own? You know what happens when you let it rot from seeking perfection, after all.

One of the biggest props I can give this game is that it managed to break the mold of Bayonetta games just being the first one with a taped-on mechanic or more enemies to fight: the demon summoning and masquerade system makes mixing up fights even better to the point it actually becomes DETRIMENTAL to rely on it, making the game still encouraging smart combos with the new, OP mechanics.

I think there's too many gimmick sections and playing as Viola is genuinely the least fun part about the entire game, even when you learn her nuances, but it's still loads of fun if you can forgive it for basically having ADHD.

To me, this goes right alongside VTMB as a fantastically written, almost masterful RPG that kinda sucks to play and is unfinished (minus the last part due to the constant updates).

There's plenty of bloat, what with the apartments you don't need and the cars you don't want cause the driving sucks, and for every amazing side mission where you find yourself caring for a character you thought you'd only see once there's another where someone wrote two sentences and called it a day, but that only somewhat detracts from the experience.

At the end of it all, regardless of the fact the combat is samey and the options kinda lame, the story and everything that comes with it are nearly impossible not to get absorbed into. And that's mostly what matters.

An honestly and truly impressive effort for one person to make such a complex AI, even if everything else around it is subpar or pre-bought. It's fascinating to see all the depth in the stalker, both in killer and docile states, as each has different reactions and logic that are apparently advanced enough to finish the game without ever really angering her.

If anything, I wish to see this concept, and the developer itself, build up from it; I shudder to imagine what they could do given more advanced resources, or even a team, to make what could possibly be one of the most intelligent horror antagonists ever made.

Upon replaying it, I remember why this is seen as the gold standard of Spidey games. It has everything you'd want from such a thing apart from the emotional powerhouse of a film its based on: a funny tour of his rogue's galaxy, plenty of entertaining distractions that you can peruse of your own will and mood, and swing mechanics that have enough nuance that it hits the video game sweet spot of easy to learn, hard to master.

Really, the only thing stopping this from being perfect is the aforementioned story, but even ones that emphasized that lack something this game has. Until both meet in a game that takes this one's title, it will remain the best Spider-Man game.

This isn't so much as replay as it is me revisiting a game I had when I was about 6 or 7 years old, but I had fond memories of this game. Most of them were about how difficult it was, but that didn't hold up because there were only 2 actually difficult sections, both as Peter, and it's basically impossible to lose as Venom.

That said, it's not a terrible game. The art style is fantastic and the music is surprisingly good, but the swinging is janky, combat piss-easy, and story drawn out with how much extra stuff they cram in because if they just focused on the plot with Peter and Venom the game would be even shorter.

The worst part out of all of the things wrong with this game, and there could a laundry list if you really wanted to write them all down, is that there is legitimately nothing memorable about it. It is bog-standard in practically every measure: the music is generic, the protagonist is laughably cookie-cutter, and the only reason I know any enemy's name is cause I randomly got an achievement for one.

There are plenty of actually good boomer shooters that exist that are cheaper, more memorable, and worth more for a cheaper or similar price. Don't waste time on this one.

It's a fun, tiny romp that becomes more interesting when you remember it came out around the time roguelites were first growing into a genre, but I think it's more frustrating than its worth to actually finish for one simple reason alone: the turrets.

See, the animal enemies are interesting enough, but the game seems to hard-focus on a stationary enemy that has weird shooting patterns and needs to be hit in a very specific spot to kill from the second level onward. This culminates in a mid-game boss that is essentially 4 of them that's allowed to walk around and kill you with splash damage, all the while a new turret slows you down so the projectiles are basically guaranteed to hit. FUCK. THAT.