Más incluso que Boletaria o Lordran, la noche de cacería de Yharnam se presenta como un contexto a explorar y explotar. Un contexto lo suficientemente retorcido y desviado de la vida real como para dar algún sentido al único lenguaje de la violencia. Y aunque se pueda llegar a justificar, se nota demasiado la elección por conveniencia de la misma base jugable de los souls.

Bloodborne no debería haber sido un juego de acción. Para empezar, porque la acción es muy floja (más rápida, más permisiva, pide menos implicación y premia la imprudencia). Segundo, porque la ausencia de peso parece conspirar en contra de la aproximación lenta y meticulosa que piden sus entornos. Pero sobre todo, porque el mundo que plantea es lo suficientemente rico para merecer todo el protagonismo.

La cantidad de misterios, zonas secretas y sorpresas que esconde; la variedad de momentazos; el mix de horror gótico y cósmico; la monumental arquitectura de Yharnam que, aunque repita el mismo patrón de diseño para cada zona en particular, es lo suficientemente contundente en global. En comparación, los vistosos jefes finales se sienten fuera de lugar y rompen el ritmo.

A pesar de lo disperso que pueda parecer en planteamiento, sorprende lo centrado que es temáticamente. Todo en el juego apunta en una dirección bien definida. Si las constantes referencias a la maternidad y la regla, la luna y la sangre, no eran lo suficientemente evidentes, el último tramo se encarga de enmarcar toda la pesadilla entorno a algo tan concreto y personal como es el sufrimiento de una madre cuyo hijo ha nacido muerto. Solo espero que a Miyazaki le vaya todo bien a nivel familiar y tenga una vida feliz y tranquila.

This is the stupidest RE installment yet, the Ethan Winters saga is the most homogenically western and cliche-ridden American horror duology literature I've played in years.

VILLAGE writer Anthony Johnston gets lost in his snobbish American lens delivering a portrait of a lost rural village where the most uninspired monsters clumsily assault us. Licantropes riding horses, Vampires, zombies with swords? A guy with magneto abilities that transforms himself into ... A transformer ??? What the Fuck (well at least this one is more creative, even if it causes embarrassment)

Although inspired by RE4, the cliches also devour the approach to action and navigation, with a standard array of weapons and a first-person perspective, the combat does not differ one bit from the rest of survival FPS of the last decade, feeling The regression of the multiple and superior combat options in RE4, and the semi-open level design does not turn out to be as threatening or challenging to navigate as the corridors of RE2 2019, or Union, the city of The Evil Within 2, seems the Little inspiration of VILLAGE turns to the voyeurism of playing hide and seek with Lady Dimitrescu and her daughters (visual delight for otakus) and the grotesque images of Ethan being injured and maimed,.a waste of energy from my point of view. Not a theme park, not a true gender collage.

It is curious that this game makes me appreciate The evil within 2 more since in essence they are the same, a Japanese collage of universal horror with strong American influences, but while VILLAGE takes it in a bland and voyeuristic way, the evil within 2 is more elegant and creative with its context and spatial flow. Oh! and the setting in rural lost towns has to end, the anonymous rural Spain frozen in time with pesetas included from R4 was fun, but .

BTW, if you are going to comment on something like "American through a non-American lens", please save it, the point is not the lens, it is the cliche and voyeurism to which cities and villages are reduced under that vision

FYI this is still the best one. Most inspired soundtrack, most painterly and phantasmagorical setting, best hub zone and maiden, and laden with the most lyrical sense of tragedy and loss. Sure the gameplay is a little bit clunky compared to (some of) the later titles, but Deal With It!!

it makes me deeply sad that the online has been discontinued and we haven't heard anything about a re-release. Still totally playable offline, but the full experience deserves to be remembered and kept alive!

EDIT: WAIT I SAID RE-RELEASE NOT SLEEK HIGH POLY REMAKE DEVOID OF ATMOSPHERE AND RESTRAINT!!! WHY MUST THE DEVILS AT BLUEPOINT CONSPIRE TO MURDER EVERYTHING I LOVE

It's not about hunger, the television media, or deformed and abusive adult authority figures, but the consequences of suffering from a dehumanized environment during childhood, which is nothing less than becoming selfish and sinful.
Mono crosses a dehumanized and deformed city forming a bond with Six and being pursued by a lean, suit-clad figure (probably a reference to Michael Jackson) facing situations that suggest nurturing without empathy and self-centered survival as a way of life. At the end of the game the acts of kindness are in vain and Mono (protagonist) and Michael Jackson-TvMan-slim man (antagonist) turn out to be the same entity trapped in a space-time cycle created by the emptiness of Mono and the accumulation of hatred during his childhood, we become our own monsters , even more, it turns out that the intentions of the opposing figure are not bad at all, his only defect is to demand attention. Somewhere is a really good videogame but its lack of pacing during various sections of the game and the inability to detach itself from environmental puzzles makes its almost master set-pieces and its enormous visual imaginary buried. btw, points for not fetishizing Playdead's style children's deaths (fuck Playdead)
and this game is in fact a prequel, not a sequel

Also i have a crush on Buffy the vampire slayer (1997)