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The copaganda at a few points is a bit much, and I'd like to see the sequel tackle making both the swinging and combat a little deeper and more varied, as well as integrating the side content into the open world more naturally. Otherwise, this is the blueprint for a perfect Spider-Man game. Getting to run around in the Raimi suit fighting Shocker and the Vulture took me right back to playing the 2002 movie game on my brother's GameCube, and that's all I've ever needed.

Too me this stands in the same league as other short FPS like Pray 2006, where it's a fantastic FPS from beginning to end, and it never gets stale or feels like it overstays its welcome. Top that off with a pretty fun story, some fun set pieces, and a pretty fun use of real world outlaws giving it a very Buffalo Bill style of Wild West.

Having played Her Story years ago and appreciating the concept though never really getting hooked by the story/ending, and having stayed away from Telling Lies due to bad press, I was a bit skeptical of Sam Barlow's newest title Immortality. However, I finished it earlier today, and I now think it's his best work. Flawed, certainly, but I can't help but appreciate the craft.
The story goes like this: found footage of three unreleased films starring the fictional model turned actress Marissa Marcel has been recently unearthed (unreleased due to enigmatic circumstances), and it's up to you to uncover the mystery of what happened and why she disappeared. You start with a clip of a TV interview, and jump around through various clips by pausing/parsing footage and clicking on items of interest, such as the faces of those who appear and common objects. For example, clicking on a lamp in one scene may send you to another clip in another scene that has a different lamp present, clicking on water will transport you to a scene with water present, clicking on Marcel's face will transport you to another scene with her present, and so on so forth. It's an ambitious concept of scrolling through the database (as opposed to typing in keywords in Her Story), and while it seems to hasten the pace, it also introduces an element of randomness in that some scenes can only be accessed with certain objects, and you'll be transported to a random scene every time you click with no way to control the exact scene you jump to. This disjointed narrative telling, while broadening the mystery, could also potentially result in the mystery being spoiled prematurely if you accidentally bump into a crucial scene like 25% into the game and having it all not really make sense. If you're trying to collect all the scenes and see everything, this is probably more of an impediment than a boon.
Also without going into too much depth, let me give you a few pointers regarding the system that will aid the process, that I really wish I knew about before I started this up. The game's unfortunately not the best at explaining its various tools & gadgets.
- You can use the left and right arrow keys (or left and right on the d-pad if using a controller) to parse through all clickable objects of interest when the scene is paused.
- If you're using a controller, then the controller will vibrate at certain instances (or you'll be clued in on something strange going on when you notice flashes of black and white interspersed in the footage or the backing track turning "creepy"). That's your cue to parse the footage backwards at a very specific speed; on mouse and keyboard, you need to hold shift and tap the left arrow key twice, or on the controller, tap the left stick to the left twice. I won't say anymore on this.
- While paused and selecting clips, you can click on the clapperboard symbol to switch to object classification, which will give you a little subtitle for each shot indicating what category it falls under for that type of object.
Again, without going into spoiler territory, I think Immortality's strength is presenting layers of narratives and social commentary including the relationship between viewer and creator, art as a creative medium, meaning within art, and of course the norms & fads of filmmaking throughout the industry and its various eras; I won't comment too heavily upon these themes as I don't feel qualified to do so, but there is a lot to unpack between the narrative of the films themselves, the meta narrative of what happened as part of the creative process, and the meta narrative as part of the player's discovery. By instilling you, the player, as an active participant engrossed in the meta-narrative and not merely roleplaying an observer such as that in Her Story, Immortality is able to convey its thoughts and feelings in a much more direct and thought-out way; it is aware of its audience seeking meaning, and is not afraid to provoke the question of whether or not that meaning even exists in the first place. To boot, the attention to detail regarding its characterization of the common movie tropes and aesthetics of each era are definitely on point, down to the grainy film textures and static background buzzing in some cases, and I found the acting, especially that by lead actress Manon Gage, to be quite convincing.
While its main draw via its structure and formula is also most likely its biggest issue due to its variability, and potentially leading to tedium through constant, repetitive searching or early disappointment if key moments are brought up too early, it's nevertheless an ambitious and more realized work than Her Story and a fantastic example of how interactive media can convey a wide range of emotions in ways that are simply not possible in more static mediums such as books and films. Give this a shot if you're looking for an engrossing mystery with plenty of twists and turns to be uncovered by the player, and be prepared to experience a wide variety of emotions. I will say this is not for the faint of heart (despite having nothing I would consider a "jumpscare") but if you give it a chance, then perhaps Sam Barlow's latest thriller may give you quite a ride.

One of the best Kirbys out there, if only because of being a Metroidvania and a open world cooperative game up to 4 simultaneous players. Along with Super Star, the Kirby I enjoy the most playing with other people because we all can go anywhere and keep unlocking portals from each side.

Missile is the best doggie 4ever

the only ethical persona game (you can be gay)

fuck randy pitchford. also fuck gearbox's terrible writing. that being said the level design and ideas here are really fun but gearbox still are insufferable

Really, REALLY wish I could I say I adored it. The art style, music, atmosphere and story are so up my alley that the extreme lack of content (I beat it in a hour with 20 minutes extra for achievements) and overly simple (If still effective and narratively fitting) gameplay hurts me and keep it from being something genuinely astounding like I wish it was.
Despite its simplicity and length it was otherwise a wonderful little title that was absolutely worth its small price. I pray for a longer spiritual sequel.

"Beasts all over the shop... You'll be one of them, sooner or later..."
There are many reason to love bloodborne. The viscerally engaging combat system that is simple yet satisfying, the brilliant level design that is complex and rewarding, the raw-ass enemy and boss design, the stellar art direction that perfectly encaptulates the victorian gothic feel, the fucking banger soundtrack, the general story and its characters. This game just has it all. But I want now to focus on one aspect of this game, the one that I consider the best thing this game does, the lovecraftian horror
"In case you've failed to realize...
The things you hunt, they're not beasts. They're people."
The game starts off as just a gothic horror game and does a good job hiding its true intentions and themes for the first half of the game or so. Heck even the trailers didn't capitalise on the cosmic horror aspect which makes the reveal all the more compelling. But it's not random. The game gives you small breadcrumbs that can be easily spotted by people who know the game well but for new players it will go right over them still creating a sense of surprise in them when it is revealed.
To change subject a bit, this game has a phenomenal roaster of npcs. From the terribly kind chapel dweller, to the maniacal but understandable suspicious begger, to the misterious Eileen the Crow it has plenty of unique and interesting characters to talk and interact with. But the best of them has to be Djura. A powder keg hunter that was once just like the player but came to the odd realization that the things he killed were more than just mindles beasts. And it isn't just pulled out of the games ass for some cheap symphathy, oh no. If you just stop and listen in Old Yharnam whenever you want, you can softly hear the beasts cry and weep while hinding in corners. You can perfectly understand why he feels this way and why he has to protect them to make up for killing so many of them in the past. Games are at their best when they combine gameplay and narrative into one and this game does this flawlessly
"We are born of the blood, made men by the blood, undone by the blood. Our eyes are yet to open..."
Now to cut back to the aspect I like the most about this game. Video games and cosmic horror have a quite rough relationship. Some attempts have been made but almost none were very successful. Mostly due to them just ripping HP Lovecrafts mythos with no though or deeper understanding of the source material. Also if you remove the lovecraftian aspect, they are pretty shit games on their own. Bloodborne is still an excellent game without them and a true masterpiece with. It does a couple of things to differentiate itself from the rest, mostly by actually putting the work to create its own mythos and abominations. It's cosmic horror, unarguably, but it's still feels fresh and unique. On a surface-level, it seems like the game is a contradiction, you kill the things that are supposed to be eldrich, unreachable, horrors? But then you realize, are the things I kill truly great ones, or just mere rejects? Lesser great ones or literally "left behinds"? The NIGHTMARE SLAIN title appears only in 3 distinct locations. One is after Mergo's Wet Nurse is defeated and Mergo stops crying, another after hitting the spirit of the Orphan of Kos and the last after the Moon Presence. Are these the true great ones or are they just puppets controlled by them? This game fundamentally understands cosmic horror and takes full advantage of it.
The enviromental horror isn't far behind either. One of the scariest moments in bloodborne for me is seeing the corpses in yarha'gul and realizing they are just men, women and children trying to run away from.........something. The game doesn't say anything more about this. It just lets you imagine what happened. It goes hand in hand with the brief storytelling of the game by creating a real sense of unknown and mistery. Or how as the night goes on the citizens start to go mad the simply vanish with no trace whatsoever when the blood moon falls. Or how when you say to the gatekeeper the pasword to access the forbidden woods but when you open the door he is long dead. This doesn't make the game scary, it makes it fucking terrifying.
The funny thing is that before this game I never really cared about lovecraftian horror all that much but after completing it, it's BY FAR my favorite kind of horror. I even bought a book with the entire fiction Lovecraft made lol.
"As you once did for the Vacuous Rom... Grant us eyes, Grant us eyes! Plant eyes on our brains to cleanse our beastly idiocy!"
Bloodborne has a lot of excellent areas, and I mean A LOT, everybody knows that, but my favorite one has to be Nightmare of Mensis. A couple of reasons why:
Fantastic level design
Solid enemy variety
Thick atmosphere
The best enviromental hazard in the series
Intriguing lore
There are so many more things about this area. The Brain of Mensis, Mergo itself, the winter lanters which have my vote for most terrifying enemy in the souls series, both mechanically and design-wise, Micolash and his fascinating dialogue. The fact that Mergo's Wet Nurse ost is a fucking lullaby and it works so wonderfully is outstanding. One of my absolute favorite moments in all of gaming is just simply looking at the giant pale moon in the sky in the area. Just blindly starring and thinking about this whole game and what it means to me
"Ah, sweet child of Kos, returned to the ocean. A bottomless curse, a bottomless sea. Accepting of all that there is, and can be."

Will try to keep it brief here since I aready made a separate review for the dlc but safe to say this is one of the best dlcs ever, if not the best. It has 3 incredibly well designed areas, 4 of the best bosses in the game, fixed the weapon variety issue from the main game, new interesting lore and some of the best music fromsoftware ever composed. Legendary.
"Tonight, Gehrman joins the hunt..."
When I first played the game, Gehrman was underwhelming to me for some reason. Maybe he was too easy, or I didn't understand the lore but now I want to take it all back, he's one of bloodborne's best bosses. The emotions, the music, the gorgeous arena, the fight itself, it's all majestic.
In conclusion, bloodborne is my favorite game of all time and my favorite piece of media I've ever had the pleasure of consuming. It's an artistically rich, superbly designed game and I am forever grateful for playing it. This doesn't mean it's perfect(chalice dungeons are a complete waste of time, the build variety is kinda shallow, the healing system is good but inferior to estus and some technical issues that could be fixed in a pc remaster port that will probably never happen) but I don't care honestly, it's very dear and close to my heart and soul.
I love you, Bloodborne

"A Spiritual Voyage"
After an unknown time of me owning this game on my PS4 (likely around 7-8 years), I finally sat down and decided to play through this game that people just couldn't seem to stop talking about during the 2010's. I had become a bit more familiar with this style of game having played "Abzû" before, and I knew that it would be a bit difficult trying to separate my thoughts on that game from this game considering they have similar artistic goals and gameplay structures. While my time with this title was short, I can definitely say it was a great experience in its own right due to its amazing art aesthetic, great soundtrack, simple yet focused gameplay loop, and solid story.
The game starts you out in a mysterious desert where you take control of an unknown shrouded being. You're free to explore this huge area at your own will, but there is a large beacon of light emanating from a mountaintop in front of you which draws you to want to trek towards it. On the way you'll see some incredible sights while exploring a mostly linear path, but the game never feels too constrained due to its amazing art design and clever gameplay system.
"Journey's" world seems larger than it actually is due to a great combination of proper scene scaling, rich color palette, and a fantastically diverse soundtrack. Vistas seem to stretch out into the horizon despite being simply rendered, and the game shifting the camera angle to showcase your character's scale against the background was jaw-dropping and effective. The music renders some beautiful orchestral moments, ranging in energy from bombastic climaxes filled with diverse drums and strings to soothing and atmospheric violin segments. It has tinges of folk and ceremonial tones and promotes the themes this game explores very well.
Gameplay is pretty simple - you can jump and glide, and your character can project a sound sphere that interacts with limited objects in the environment. While very stripped back, the pathing (or lack thereof) of the game helps it feels more open-ended than it actually is. Objectives are never highlighted besides the main goal of reaching the mountain, and it's up to the player to figure out where to go. While these areas are generally obvious, there is a sense of exploration and discovery that offsets the more limited mechanics of the game, allowing one to become immersed in its interesting themes of religion.
This game is definitely themed with some sort of amalgamation of religions in mind. It appears inspired by Eastern environments but has tinges of Western and Eastern belief systems. There is no narrative that outright explains this, but the inspirations are definitely here on display. The game explores the cycle of life, death, and reincarnation throughout the character's journey, and it also deals with moments of doubt, hope, and even elements of megalophobia (fear of large objects/animals) and some instances of perceived Lovecraftian-like anomalies. It's a great combination, and it feels neatly strewn together for its very short runtime.
However, the short runtime fits perfectly with this game because it says everything it needs to say within its parameters. The gameplay is definitely limited, but it didn't lead to an experience that felt like it dragged on too long or too slowly. This is an example of a great video game - established themes, consistent gameplay with proper pathing, and a beautiful presentation. There isn't a need to have bloated gameplay mechanics, humungous budgets, or sharp AAA graphics. All you need is a sense of style, substance, and a single goal in mind - to present a compelling adventure, or in this game's case, a journey.
Final Verdict: 8/10 (Great)