1075 Reviews liked by JohnPips


Meu primeiro jogo do Kojima, e tudo que falaram é verdade, o homem é bom. O jogo tem uma história muito boa que realmente me cativou, cheia de reviravoltas e parece até um pouco a estrutura de um filme.

É um jogo extremamente interativo, quebra a quarta parede toda hora, o que é muito legal e extremamente avançado para a época. Lembro de escutar gente falando sobre o Psycho Mantis lendo seu save desde os meus 7 anos de idade.

A IA me impressionou. Eles são muito espertos para a época e até para hoje. Se você se encurrala em algum lugar que não tem saída, eles não vão atrás de você; eles jogam uma granada e esperam você sair. Isso é mais inteligente que muito jogo stealth que já joguei (Hitman e AC).

O level design é muito funcional, com fases lindas e cada parte muito diferente uma da outra. A câmera em primeira pessoa foi uma sacada muito boa afim de evitar problemas com a câmera e funciona perfeitamente bem.

O Kojima, em entrevista, disse: "I've got backstories for these characters that cover their whole lives, from the moment they were born to their current situation, but probably only 1/3 of that will make it into the game." É notável o quão gênio esse cara é. Embora tenha alguns furos bem óbvios de roteiro, a história é muito bem amarrada. Todos os personagens têm uma história que não é apenas jogada na sua cara; ela é contada de maneira natural ao decorrer da campanha.

Em geral, é um jogão, envelheceu como vinho. Tem alguns problemas de jogabilidade, mas é um jogo de 1998, então temos que dar um desconto.

"Humans can choose the type of life they want to live."

what if dino game of google chrome was bayonetta spin off.

This game oozes.

I loved the detail of the dog ceasing its breathing as you approach it. Sensing for movement. Ready to charge. Mostly because I thought "My dog does that too!" and felt a jolt of happiness.

The animals here are rich with expression, and could really freak me out on occasion. The random encounter ones are just chef's kiss.

The ambient lull of a safe room is one of my favorite video game tropes. It's like I immediately fall in love with a game that has it. I'm not sure why it's so simple, but there it is. An incredibly potent Resident Evil ingredient that this game incorporates well.

There's also the egg-collecting, evoking memories of Yume Nikki. Once we have all the eggs, where can we go?

I have one nitpick, and it's only because this felt so tailored for me in so many other ways: For there to have been characters with agency other than the player. Doesn't have to be dialogue-based, but just a dash of a Friend in this mildewy maze, you know? Even just to allude to other fates through the environment would work wonders in a game this atmospheric. The Totoro-reminiscent chinchillas were cute enough, but imagine if one said hi to you!

Anyway, those're my notes on it. Had a great time.

Demon Cleaner by itself is worth getting this game for. What a killer track! Probably my favorite disc setlist out of all the GH/RB games, mostly thanks to the higher difficulty of its heavy metal songs. Still wish the Guitar Hero games worked with the Wii Rock Band kit, 'cause GH Wii drum kits were never sold natively here in Norway. The guitar still works great other than the whammy bar, and that's not bad 15 years down the line.

Há um motivo pelo qual todas as reviews de alto grau de R4 (especialmente as neste site) tratam apenas da parte estética. A direção de arte da Namco foi além de tudo o que é esperado de um jogo, criando um jogo de corrida com vibes impecáveis de comerciais de luxo, acompanhado por uma soundtrack de excelentíssima qualidade e uma pseudohistória que consegue dar aquele incentivo final para o jogador avançar e ganhar as corridas.

Vou botar meus haterismos na mesa para todos verem: depois das belíssimas palavras escritas por usuários anônimos da internet, eu estava ansioso para jogar R4, mas fiquei relativamente decepcionado com a parte interativa. É um espetáculo audiovisual, um verdadeiro VIDEOgame, mas acho que até mesmo seu antecessor o ultrapassa na categoria GAME.

Rage Racer peca na sua estética, sendo um jogo bastante genérico nesse aspecto e é, definitivamente, um jogo longo demais, mas ainda assim traz uma boa experiência de "dirigibilidade". Suas 4 faixas, 3 das quais usam a mesma base, podem ficar cansativas depois de repeti-las em cada uma das 5 classes de Grand Prix até poder prosseguir na "história", mas é difícil de negar que elas são de altíssima qualidade. As curvas estreitas, as espirais e o uso criativo da verticalidade criaram verdadeiras montanhas russas virtuais que são deliciosas de serem atravessadas a 150 km/h, especialmente em primeira pessoa. Combinados com os controles mais difíceis e carros pesados, isso criou situações interessantes para mim, que sempre tentou otimizar as corridas para ganhar dos adversários mais difíceis.

R4, para mim, pareceu menos criativo em seu level design, criando faixas que são impressionantes para os olhos, mas simples para as mãos. Conforme o jogo avança, não há um correspondente aumento da dificuldade das fases, que ainda podem ser dominadas na sua primeira tentativa com os controles mais piedosos. Pode parecer uma reclamação longa de um tryhard, só que R4 não me fez tão interessado em dirigir e em melhorar quanto seus antecessores, nem mesmo o primeiro Ridge Racer, que nada mais é que uma demo para si mesmo.

Pessoalmente, se você quer um jogo com uma estética de comercial de luxo, uma soundtrack fantástica e inúmeras formas de customizar sua experiência, jogue OutRun 2/OutRun 2006 que também traz fases e controles muito superiores. Acho que Ridge Racer não é exatamente a série para mim.

Quando joguei DE pela primeira vez, ele foi quase que terapêutico para mim. Foi uma das obras que eu consumi naquela época que ajudou a construir os blocos da minha nova relação com o mundo, dada uma vida de ruminação e erros. Naquela época, funcionou.

Já hoje eu tive essa fase da minha vida colapsando e implodindo como uma supernova. Todas as estratégias e controles foram ofuscadas em uma visão pálida que mandava colocar meu dedo no botão de ejetar. Foi um dia de beber muito, de andar sem rumo, e de esperar o tempo passar para alguma resposta santa chegar dizendo que algo estava prestes a acontecer. Não aconteceu, a única mensagem que veio foi justamente de um amigo preocupado com o meu estado mental.

Esse amigo é e foi meu apoio, nos conversamos por algumas horas até o cansaço da madrugada vencer e adiarmos k diálogo para outro dia. Durante essa conversa, eu fiz aqui e ali uma referência a disco elysium, não de um jeito caricato e reddit (de vez em quando nem tinha essa intenção), mas sim porque é um jogo tão honesto sobre essas questões de saúde mental. "Compressor volumétrico de merda", "Limpar as Salas", "Dedo no botão de ejetar", "Policial Penitente", "Policial Apocalíptico", "A Menor Igreja de Saint-Sècs", todos esses conceitos passaram voando pela minha cabeça, junto de frases, vagas ou não, que espalharam a minha aventura inicial por revachol, que agora fazem tanto mais sentido.

Em um momento de tanta dúvida e tantos problemas querendo competir entre si, fez bem colocar "Instrument of Surrender" pra tocar e caminhar um pouco sem rumo por uma cidade decadente como a minha. jogos não são necessariamente escapismo, como qualquer arte, são uma reflexão de nós mesmos, mas espelhos funcionam em via dupla.

Espero que passe

This happened to my buddy Bolsonaro.


Gimmicks that use various types of hardware are nothing new since the days of the Wii made that mainstream, but very few games use your camera outside of a home console for gameplay. While it's wholly gimmicky and can be played with a controller, the game uses your webcam to see your eyes blinking to determine when to change scenes in the game or interact with objects. Not often does the gimmick feel like it's influencing something important, but when it does it works well.

You play as a boy named Benjamin Brynn floating along the river of death in a boat with a wolf as a ferryman. He's to be taken to a being in a large tower whom he has to sell his life story so he can pass on and the ferryman can be paid. You start out as a child and you eventually learn your mother is an accountant and failed music composer and wants you to follow in her footsteps. Each scene is full of mostly black with just what you can remember being in view. Sometimes an eye will appear on objects for you to blink at and interact with. When a metronome appears you can blink and jump to the next scene or try to hold your eyes open and see the scene to the end. Most of the time I couldn't do it (it's very dry where I'm at here in the summer).

You slowly progress through the story only to find out that you need to retell the story correctly. I won't spoil anything as to how or why, but the only times the blinking gimmick felt right was when you had to close your eyes to focus on someone talking. With headphones on this is a great effect. The game does a great job detecting your eyes even in low light, and I was using a laptop webcam which isn't that great. There isn't much else to this game. It's an interactive adventure with interesting visuals. The whole game reminded me a lot of That Dragon, Cancer, but I can't connect to this game as much as it's shorter and at the time I was expecting my first child so that game hit home quite a bit. A big fear is your child being born with some sort of debilitating disease.

You'll most likely not really feel the game's impact until the last 20 minutes when things get really dark and sad. It didn't make me tear up, but it was really sad for sure. You can finish the game in about 90 minutes, but I did connect with the character to an extent, but not wholly. The scenes rush by too fast and you're meant to understand the moral of the story more than connect with the characters and get behind their motives and feelings. I feel a game like this misses the mark due to its short run time, but the gimmick would get tiring for more than 90 minutes.

Overall, Before Your Eyes is a charming game with a lot of heart and a fun gimmick that works well when it wants to. It's a very short game and doesn't let you really connect with the characters enough. It's forgettable in the end, and not as memorable as some other short adventure titles I've played in the past, but it's fun and worth a look.

tocante, unico, e com uma linda mensagem.

"ℐ ' 𝓂 𝒹 𝓇 𝓊 𝓃 𝓀 . . . . .

ℐ ' 𝓂 𝓋 𝑒 𝓇 𝓎 𝓋 𝑒 𝓇 𝓎 𝒹 𝓇 𝓊 𝓃 𝓀 . . . . ."


-Ched

Saw Vinesauce Vinny play this on stream last sunday and I immediately caught my eye and i knew i had to play it. I have no idea what even happened. The plot is some completely nonsensical drivel about killing demons, the voice acting for Ched sounds like Tommy Wiseau trying to do an Elmer Fudd impersonation while drunk, every enemy one shots you without warning and the game is practically unbeatable under normal circumstances.

There is a level that consists of crawling through tunnels and cramped interiors while fighting goblins. This level is actually impossible, every enemy takes like 10 shots to die while you die in an instant, not including the "boss" which takes like 50 shots and shoot rockets (also when you are shot you are sent backwards and disorientated, you couldn't even shoot the guy). Thankfully, whoever made this game forgot to turn off the debug mode so i just turned on god mode for the rest of the game.

Overall: no, don't play this, not even as a joke. It did make me laugh at the absurdity of it all, and it was dirt cheap, but please do not play this

Generic Call of Duty #34656457473376

This review contains spoilers

Metroid Dread is without a doubt one of the best 2D platformers ever made. It perfects the classic Metroid formula while also bringing in many new twists to the gameplay to freshen up the experience. It is going to be very difficult for me to name everything amazing about this game, so forgive me if I miss one of the many things this game gets right.

Metroid Dread has some unbelievably smooth controls. Samus nearly always does exactly what you want her to do. You almost never feel like you're losing any momentum while performing any given action. The returning melee attack from Samus Returns really helps with momentum as well. Rather than having to stop and shoot if an enemy is in your way, you can simply time your melee attack correctly to get a really satisfying camera effect and keep all your speed. All of this is aided by the game's incredible animation fluidly connecting everything together. Samus never clips into any other objects, and her model never jumps around from pose to pose. Everything she does while controlled by the player looks as if it could be found within a cutscene as well.

One of the things Metroid Dread does best is fooling the player into thinking they're a genius. Despite being a metroidvania, Metroid Dread doesn't really open up that much. There are many times where there is only one set route for the player to take and get to where they need to be, but the game does a very good job hiding this. The map is so naturally designed to point the player to where they need to be at any given moment that most players will likely just take the game's intended path first. They'll feel clever about it too, because from the player's perspective they just figured out how to navigate Metroid Dread's maze of a map on their first try. It is a personal skill of mine to be able to get lost in the simplest maps imaginable while playing literally any video game, so I feel like the fact that I was never confused on where to go for more than 5 minutes, not even once, really says something about how great this game's map is.

Now for one last subject on the topic of gameplay, THIS GAME HAS AMAZING BOSSES!!! I am generally someone that struggles while playing difficult video games, but Metroid Dreads bosses had me coming back for more every single time I was defeated. Despite most of them having huge flashy attacks that seem impossible to avoid, they slowly become more and more recognisable the more you fight each boss over and over. You’ll need to be able to remain composed in frantic and crazy situations and have full knowledge of each boss's moveset if you want to have any hope of taking them down. But once you finally do, it seems hard to believe that you ever could have struggled at all in the first place. You learn so much during each fight that you feel (in a similar way to mastering navigation) like a genius after every one, despite that being (also similar to navigation) the game's exact intention.

I touched on presentation briefly before, but I'll go into more detail here. This game looks absolutely amazing. As I previously mentioned, all of the game's animations are great, but there's more to it than that. To start, the game graphically looks really excellent. Despite the map you interact with being fairly blocky and video game-ish, It always blends perfectly into the beautiful backgrounds on each map. All of the backgrounds manage to be unique in their own way through incredible lighting, wonderfully realistic weather effects, meticulously crafted environments, and a general sense of life to everywhere you visit. I have never before played a 2D game that was able to make me feel so small in such massive areas. Also, because every location on every map is so detailed, the camera can pan all over the place and never has to be restricted to a purely 2D perspective. It's another major reason this game looks so good and feels so fun to play. When fighting bosses or discovering major locations the camera can go absolutely crazy and make you feel like you're watching an action movie.

One aspect I did not feel so positively about was the story. All of the game's cutscenes look great, it was very cool to see Samus interacting with real life chozos, and It's certainly cool that the game tries to be a conclusion to the original 2D metroid storyline. The problem is that it doesn't really conclude anything. I really wish Nintendo wasn't allergic to having a full proper story in their games the way other developers do. While it's true that story isn't absolutely necessary and fun is most important, stories in games can elevate them to much higher levels than they would otherwise be able to achieve, and I feel that there was a significant amount of missed potential here. It was very disappointing for the story to end simply with the planet exploding and then 5 seconds later… credits. Samus being a metroid is cool, but what does it mean for her? What are the consequences? Why do her powers suddenly disappear at the end of the game? Why does the X parasite become loyal to her? None of it is properly explained. It feels like it all happens for the sake of an easy ending. It's disappointing both as a conclusion to the series and as a reward for beating the game's very tough final boss.

As I’m writing this I’m realizing I never wrote anything about the E.M.M.I. sequences, so I'll put that here. They are pretty horrifying and stressful at first, but similar to the bosses they begin to get predictable and avoidable over time. It is very satisfying to become more and more skilled at evading them throughout the course of the game, Especially while each new E.M.M.I. ends up being better at hunting you than the last. I’d say that they do initially succeed at creating the desired feeling of dread the game tries to give you.

Overall metroid dread is incredible. Despite my disappointment with the narrative, the game presents itself so well it's hard for me to be stuck on that one issue. The fluid gameplay, amazing boss fights, excellent level design, and great sense of atmosphere is what really makes the game for me. Here's hoping we don't have to wait another 19 years for the next 2D Metroid game.

Earlier this week I finally beat a game I actually really enjoyed for the first time ever on the Genesis in Gunstar Heroes. I thought I would give some more of the top-rated Genesis games on backloggd a try. But here I am yet again, like every time other than Gunstar Heroes, disappointed.

Shinobi III seems to be fairly universally liked so I will admit I am the odd man out here. It isn't the worst game ever and I genuinely wanted and tried to like it but I just didn't any fun during my playthrough. I knew how short the game was and by the end I was just trying to get through it as quickly as possible. I found the controls to be to slow and way to clunky, especially for a game about a freaking ninja. The double jump felt like ass but needed a lot through the final stages. The gameplay itself wasn't fun to me. Most of the stages and music were subpar. Again, it's not awful it's just not for me. Maybe I'm being too hard on the game? I don't know, I just don't see what people see in this game. I do think it has excellent visuals though.

Here is my 2024 rankings:

https://www.backloggd.com/u/DVince89/list/games-i-played-in-2024-ranked-1/