Um bom jogo mas nada além disso. O caminho até finalizar a primeira run é bem divertido mas depois disso é tudo ladeira abaixo; quando vc domina o básico percebe que o jogo em si é ridiculamente simples, a maioria dos inimigos e chefes podem ser derrotados spamando dash e ataque (com uma build OP é só desligar o cérebro e ir pro abraço). A história é ok mas tão simples quanto a gameplay, definitivamente não é algo que te faça pensar por dias e se vc não for muito apegado a esse tipo de coisa provavelmente vai esquecer em 1 semana.

Enfim, achei a arte do jogo daora mas nada que outros títulos já não tenham feito melhor, e sobre a OST, pra músicas que se repetem infinitamente durante infinitos loops, até que não decentes.

Easily in the top 5 most overrated games of all time. The only reason Hades doesn't deserve the lowest rating is the impeccable presentation from Supergiant Games. As with the developer's other work, it's easy to get sucked into Hades because of how good it looks and sounds. This time, the studio marries its distinguished production style with a business plan based on appealing to the lowest common denominator.

Hades' familiar, repetitive action has gotten a pass from critics and fans thanks to the game's shrewd psychological manipulation. The fast leveling provides a reliable dopamine rush, and the upgrade preview icons flatter and tempt players by letting them know the progress that lies just a room away. The actual combat and upgrading are unoriginal and unchallenging. Using the logic I learned from the Diablo series and its many followers, I developed tactics (after a mere handful of failed runs) that allowed me to dominate most rooms and defeat Hades on my first attempt. The game evokes hell while being formulaic and welcoming, offering an onion that you can always peel. The perfect recipe for ego-stroked addiction.

And the story doesn't live up to the hype. It's all cliched juvenilia about flipping the bird to daddy and running to mommy for wise words and protection and having funny conversations with friends after you get a boo boo. Hades exploits the infantilized gaming market like a shameless pimp. Game of the Year? More like Trick of the Year.

The best roguelites are all about toying with choice, expectation, and consequence. The very best games the genre has to offer often forces players to choose between an item or a weapon, a damage boost or a health pickup, a dangerous encounter with better loot or a safer encounter with a lesser outcome. They force you to make tough decisions and live with those decisions, with even early-run items and mechanics can have lasting consequence until the end of a run.

Hades is one of the most linear games I've ever played and it results in a game that barely feels like a roguelike. Each run features a fixed number of rooms that you move through, and a small variety of hand-crafted rooms that start to feel very retreaded after a handful of runs. Every run feels the same because there's no way to go beyond what the game expects of you with structure.

My favorite roguelikes feature very dynamic level design or offer a variety of additional challenges like bonus floors or areas, specific challenges to make the game have extra longevity, and secret bosses or bonus modes.

Hades is able to spice up a bit of its variety with options like the pact of punishment, but these are merely difficulty modifiers that tune numbers or force you to play more cautiously or quickly. According to Steam I spent around 22 hours in this game, and I reckon that's closer to 19 or 20 once you shave off extraneous dialogue and the few cutscenes the game has. Throughout those 20 hours I played about two or three dozen runs. None of them stand out. Every run felt the same.

A common complaint with roguelites is that they are often unfair and success relies on getting a good item that will win you the game. I understand these complaints but the genre is often deliberately designed to be unfair to make runs interesting. When a game forces you to play through the same components dozens or hundreds of times, it's essential that runs feel interesting and diverse. There are many runs I've had in games like Enter the Gungeon where I got screwed over by lack of good items, but for every one of those, there's a run where I got some incredibly unique gun or item that made the game extremely fun to play. Those runs stick out and are the reason why the best roguelites are paragons of good game design.

Because levels don't fundamentally change, all of Hades' variety is dependent on boons. Some boons make the game feel different, like Athena, whose boons are largely defense-related, or Hermes, whose boons alter speed and dodging. However, every other Olympian's boons usually have to do with a specific status effect. Chill. Doom. Jolt. Drown. Drunk. Charm. All these statuses are different names for the same general effects. Once you pass the opening hours of Hades, the smoke and mirrors dissipate and the game's façade of variety falls apart.

That's not to say that Hades is a bad game--it's an alright game. The art is gorgeous, and combat feels good to play in the most direct fashion, but combat is also extremely simple, with pretty much every enemy except the last two bosses being defeatable by spamming attack and dodge. The music is fantastic as it always is for a Supergiant game. Surprisingly, I felt like the story left a lot to desire. The thing that has always drawn people to Supergiant games is their stunning art, music, and writing--all the elements of games that other studios and developers often fail with.

The story in Hades is actually really underwhelming largely because there isn't really a story. There's no general plot and everything is communicated in through dialogue. The narrative is carried by loose relationships between thinly-defined characters, and as such feels like pretty much any other roguelite without a story. Early on I felt impressed by the fact that there was no repeating dialogue (which is certainly a feat), but after enough time I realized that this was just another gimmick. Non-repeating dialogue carries no importance when characters use a multitude of words to say nothing at all. Every dialogue or conversation feels identical to the previous and by the time I got to the end of the game I found myself skipping, or skipping through, most of these encounters.

It's really quite a bummer that I didn't enjoy this game more especially because of how much I enjoy world mythology and how much a strong impression the game made in the opening hours; but just like Doom 2016, even the most thrilling gameplay loops can stagnate without innovation.

If you asked me whats the first game that pops into your mind when you hear the word "overrated" i will tell you its this game.

Boring gameplay with repetitive enemies, shallow mechanics and dull progression system and customization.
Empty and boring open world filled with filler fetch quests
Embarrassing story the falls on its face, the writers think that by quoting famous philosophers it will make the game "le deep" but if you dont properly explore and execute the themes you are trying to convey then it comes off as pretentious and edgy, thats sadly what happened with NieR: Automata. It doesn't help that the story breaks its rules and has tons of plot armor.
Second playthrough in particular was so awful with 9s shallow hacking minigame "gameplay".
Characters are underdeveloped and full of cliches.
Generic anime music.


I did not enjoy this one, for months i kept wondering why its so popular then i remembered that 2B ass was all over the internet.

Good lord, what a game. There's really nothing quite like the Metal Gear Solid series. The way the gameplay and story meld together in such a way is just special, and had never been replicated in quite the same way (aside from MGS 2 and 3 of course). This game has an amazing story, good atmosphere, and gameplay that is decent most of the time but aged like milk (specifically a few of the bosses and some combat encounters). Psycho Mantis, Sniper Wolf, Vulcan Raven, and Rex are some iconic boss fights that still holds up as thrilling engagements. Liquid's three phases and "Deepthroat" (hehe) were downright frustrating though. Especially that awful turret section at the end... protip: use first person view for that turret section.
There were some memorable sections as well, like the torture section that actually tortured you, the player. This was brilliant, if not physically painful. There are also sections like the comms tower chase, which was a memorable moment for the wrong reasons because they bring out the game's jank in full force.
As an arcade stealth game, it's serviceable, but there isn't as much stealth gameplay as I remember there being. It's mostly an action game against a myriad of bosses and crazy encounters, interspersed with the occasional lackluster stealth section and tedious backtracking. It's especially poorly paced in disc 2, when it's just balls to the wall action until the game is over. Overall, a great game, but I prefer the sequels.