Eu sempre ouvi falar que fallout 4 é uma desgraça para a franquia e é a pior coisa que já aconteceu, depois de 70 horas+ jogando... é legalzinho i guess? tipo tem todos os problemas que já falaram inumeras vezes: história e facções fraquissimos, falta de elementos de rpg, dialogos limitados e tal. O foda é que o resto é muito divertido, o combate até o presente momento é o melhor da bethesda (não é excelente mas é divertido, da pro gasto), a exploração continua viciante mesmo que eventualmente você percebe o layout das coisas (mutantes, raiders, robos, ghouls, repetir). Ah e a construção desse jogo é muito scuffed... mesmo que eu ainda assim fiquei umas 5-10 horas construindo casinha. Enfim fallout 4 é tipo o famoso jogo mundo aberto 7/10, mas é bem divertido especialmente com alguns mods.

o maior highlight fica para a DLC "Far Harbor" que é muito boa mesmo e tem tudo que o jogo base não tem.

No real room for role-play in this game. You feel very defined as a character. DLC once again the star of a Bethesda-Fallout but still pales in comparison to even FO3.

Base building mechanics are somewhat fun, but don't seem to work quite right - the maximum build size is an odd choice also - compared to say F76 where I can understand why it's warranted.

Ultimately, if you're looking for a fallout themed FPS base builder - here you go!

If you're after anything else, Fallout New Vegas!

The apocalypse as party and fantasy. No philosophy or worries. in the city, of course, because modern shooting festivals have to be in south east asian countries or the american city in total shit, or unscrupulous mercenaries or zombies reimagined, very sad.


Imsomniac Games seems to be made up of 12-year-olds or 45-year-olds, or something like that, with no middle ground because the overall aesthetic oscillates between unrestrained noise and extravagant weapons that 12-year-olds would imagine as "cool" (perhaps) and the shameful idea of "party" and "hip" that 40-year-olds have in mind (for sure)
And it is curious the strange dichotomy generated by that gloomy vision is reflected in its displacement mechanics; tremendous verticality and smoothness with a lot of support points. I jump to several levels in the architecture, and suddenly the rails rule, and the architecture flattens.

This is one of those games that block my thoughts because of the grime they generate in me, no matter how hostile it sounds

This thing is good, but it is also the epitome of this increasingly predominant logic that Nintendo has with its present and its past, a toymaker one, and not a craftsman who cares with affection for his games and ideas put into his creations, rather like that of a luxury company that offers disposable and immediate products with a careful presentation.

Here is the new one of the toy known as "SUPER MARIO 3D WORLD WOHHOHHUHOOO", with improvements that will make you not want to go back to the original Wii U, in fact, they do not want you to, nor will they want you to go back to this version of switch when remaster it again on their next generation of hardware.

This logic extends to the entire game itself because its approach to action, while satisfying on the spot, also reveals how little real thought went into the designers working on such a solid and simple foundation as Super Mario. 3d Land- That game was in good health, but it was addictive like pringles-.
Why is there a multitasking button [Run], [Use Powerup],[Pick Up Player]
[Throw Things/Player] on a controller with so many buttons?
Probably no one thought of it, but in 3DLand it worked, so here too, right?
Yeah, no, the truth is that it doesn't work that well. With so many different power ups that alter the way the game space is operated, objects to throw, enemies that need to be dealt with in different ways, and, most importantly, a multiplayer in which all this is multiplied and also adds the possibility picking and throwing other players to win levels in the (seemingly) funniest and most creative way... One can't rely on a multitasking button, it's just impossible. Because obviously it's not just about the actions you can perform with your character, but how those actions relate to and impact the environment, or in this case -action platforms- what the environment demands of you as a player.
And precisely that, the environment, the levels, the world, Why is this game called 3D WORLD?
Not even the world map, probably the freest interplay of all the level-structured Super Marios, offers a sense of the world. It's a minor detail, and I don't have much problem with this, I think that the sensation of the digital world is achieved through more resources than simple physical literalness, but I also think it illustrates another point that was dealt with on autopilot.
The levels capture very well the texture of super mario in my opinion: color, fluffiness, sound... Joy as a whole.
But also full of ideas that, while creative and enjoyable, are also disposable almost the moment they are presented, more articulated around the mobility/attack variations provided by the Powerups than the jump itself, and that's a problem, because if you don't get the necessary powerup in advance the level design turns out to be a little soft, and that coupled with the problems of the multitasking button leaves some absurdly frustrating moments for a game that, if it had a better interactive layout, would be even easier than 3D LAND. Apart from the moments where the game tries to create a directed action sequence in which we have to fight a boss or stay on a platform on rails while the camera beats us - you go out of frame, you're dead - they make me sick, There is no redemption there, neither here nor in almost any platform game, it is an absurd way of killing pacing.

In the end, I liked the game, and I give it 4/5 because of Bowsers Fury and also because from time to time I actively look for a Toylogic game, that is just plain fun. I will probably come back to this game with friends.

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I haven't been a Nintendo believer for a decade, but this way of supercharging its sequels with mechanics that born and die in the moment which a level takes place is a super evil company move

"duh, Nintendo is a company"



Yes, but even so I would dare to say that Nintendo has not had its own ideas or approaches since the 80s. Rather, it has offered quite innovative pieces of hardware (Nintendo DS?) to share -or even take advantage of- the ideas of others producing works of studies external or minor that would enrich their own corporate image as well as their catalogs

"well, sure, but Nintendo was always like that deep down"

If you were disappointed by the handling of the corporate "route" in Cyberpunk 2077, then Syndicate just might scratch that very particular itch for you, given that you blast through the entire campaign as a corporate supersoldier. Syndicate is so reminiscent of its much-more-relevant spiritual successor that one could argue CD Projekt Red might have committed a smidge of plagiarism: first-person shooter theatrics, the interplay of gunplay and hacking, the bloom-heavy and stylized San Fransokyo-esque world. In execution, though, Cyberpunk 2077 and Syndicate are pretty radically different from one another, with emphasis on the 'radical': Cyberpunk 2077 actually feels 'punk' whereas Syndicate is a little more confused and conformist.

You spend about 90% of the game's runtime as a roided-up corporate slave until the main protagonist arbitrarily decides to ruin the plans of his superiors. By this point, however, you've already committed Geneva-shattering levels of corporate espionage against rival corporations, slaughtered dozens upon dozens of the actual rebels fighting against the state, and either aided in (or at least have been privy to) the needless slaughter of innocent civilians. Cyberpunk, as a genre, has always had a strong anti-capitalist and anti-imperialist bent to it: most cyberpunk stories (the good ones, anyway) focus on the underdogs etching out an existence in a decaying world with a sharp divide between the haves and the have-nots. For Syndicate to thoroughly misinterpret that crucial anarchic aspect of the cyberpunk genre demonstrates a lack of understanding of said genre: Syndicate uses cyberpunk as an aesthetic rather than any legitimate theming.

The reason your guy goes against EuroCorp is because of a generic backstory where his parents were murdered and the main villain lied about it so he could groom him into becoming the perfect instrument of murder. Bias is what drives your character to rebellion, not the ideology of the actual rebellion whose members you shot to death about two levels ago. Miles Kilo is only nominally a hero: he's a vital asset to corruption and police brutality until the game decides that it's time for you to shoot up his coworkers for the big, dramatic climax. It's hard to feel like you've changed the world for the better when the main villain kills himself at the end. So what? It's just another corpse in the mass grave of bodies you rack up over the course of the game. Senseless murder dominates the plot, murder that says nothing, achieves little, and absolves no one of anything.

In many ways, the deuteragonist Lily Drawl is a far better 'cyberpunk' character than Miles Kilo. Lily has a compelling and coherent arc: she's a rebel that actively fights for the very things that the cyberpunk genre upholds and makes dynamic, interesting choices in order to achieve those goals. She puts her life at risk and infiltrates the EuroCorp Syndicate as a mole, working all the way up to lead engineer. Once her cover's blown, she's forced on the run, fleeing back into the slums where she was born and raised, and once Kilo almost singlehandedly destroys the rebellion she worked so hard to nurture and engineer, she's forced to take matters into her hands and fight the Powers That Be herself, come hell or high water.

Now that's a fucking arc. That's punk as hell. But Lily's not allowed to be the one who puts an end to EuroCorp: the murderous, thoughtless Kilo is the one responsible for the head honcho's downfall, mere moments after being the one responsible for the sudden, violent end of Lily's liberation front. In many ways, Kilo is less of a character and more of a mindless force of nature, a needlessly destructive whirlwind of death that kills not out of impact or ideology, but out of impulse and idiocy. In short, Kilo is a faceless FPS protagonist: a blank-slate weapon of mass destruction and the most ill-fitting choice for a cyberpunk protagonist.

It's a good thing the game itself is actually pretty fun once you get past the misguided plot. Shooting is responsive and fluid, and the hacking mechanics are clever and well-implemented (for once); mindjacking a guy into suicide or betrayal never got old, and most combat encounters are briskly-paced and high-energy enough to keep you engaged. The sound design is loud and punchy. The minigun is an addicting power fantasy. The million-dollar upgrade that allows you to restore health via melee kills gives Syndicate's combat a uniquely Doom-esque rush that's hard to replicate outside of, well, Doom. And Syndicate mercifully gives you a wide host of vibrant, eye-catching, neon-slathered playgrounds to fight your battles in, so the spectacle is constantly being given an alluring backdrop: if the oversaturated bloom and harsh, overtuned lighting effects were less in-your-face (or adjustable at all beyond a pathetic gamma slider in the options), I'd call Syndicate shockingly ahead of its time on a visual level, barring a handful of janky animations from time to time. The fact that I wanted Syndicate's campaign to be longer so I could shoot more is a good sign at the end of the day: most FPS games from this era clocked out at the 5-hour mark, but Syndicate's gameplay is weirdly invigorating and chock full of adrenaline and catharsis that never quite swings into 'overwhelming'.

Syndicate is a mess, but its flaws usually come with fun caveats that help balance it out somewhat. The plot feels antithetical to the cyberpunk spirit and the main protagonist is a faceless nobody, but the audio logs & supplemental documents build a very fleshed-out world and the supporting cast is full of memorable (albeit somewhat underutilized) characters with actual agendas and ideologies. The lighting is overwhelming and hard to look at, but there's a richly-designed world hiding beneath the figurative and literal bloom. The campaign is way too short, but it's carried by thrilling and kinetic gunplay that's just dynamic enough to ensure that combat encounters don't overstay their welcome. It's a game that views cyberpunk as more of an aesthetic than a theme, but at least it does a good job at selling that aesthetic to the player. Everything clunkily and clumsily balances out into an alright game that might satiate any chooms that wanted to go full-on Arasaka in Cyberpunk 2077. Syndicate could have been more, and it's definitely disappointing in more ways than one, but the superficial pleasures of high-octane gunplay and breakneck virtual violence make the red pill an easier one to swallow.

That dubstep was fucking stupid even back in the day though, and this 'reboot' has practically fuckall to do with the original 1993 game, a tactical asset-management type of game made by Peter Molyneux back when he actually bothered to make games instead of shilling for NFTs. Make of that what you will.

Being a fan of the entire Metal Gear Solid series definitely put my expectations fairly high going into this game. While it has a few constant flaws that irritate me, I came out of this game with a positive outlook.

The game's 2002 visuals hold up surprisingly well, specifically the fantastic lighting. Not much to speak of in the way of music, but it's not bad for a stealth game to go with the ambience approach.

Going off the game's lighting, I adore the game's emphasis on sticking to the shadows to reduce visibility. If there's no darkness, it may behoove you to make your own by shooting out nearby lights. Aside from the shadows, Sam's toolkit is massive and varied, and just fun to toy around with. The game's stages are full of unique setpieces and challenges, never a dull moment.

Unfortunately, the game can't help but shine a spotlight on some of its more glaring flaws. Sam's melee attack feels extremely unreliable at times, you never know if it's going to result in your guard being knocked out, stunned (and alerted), or simply turn to point their gun at your head. When one guard is alerted, the rest of them tend to act like a damn hivemind, immediately ganging up on you. It doesn't help that Sam will die in a handful of shots anyways, makes me wonder why there's a health bar in the first place. Compounding on all of that, some of the game's setpieces are mandatory firefights, where the combination of Sam's non-existent health and gun controls that don't feel like they were made for combat culminate in fairly frustrating sections.

Phew. Thank god for quicksaves.

That last paragraph might make it seem like I disliked this game, but I didn't, I admire it. Dedicated stealth games are hard to come by, and this one is really damn solid (GET IT???), even despite glaring flaws. I can only hope and assume that future games used this one as a foundation to create even better sequels.

Parecía una imitación de Hotline Miami, pero no.

En Ape Out no podemos avistar a los enemigos desde lejos. Un efecto de profundidad hace que las paredes tapen nuestro ángulo de visión hasta que nos asomamos por ellas. Esto lo cambia todo, porque evita que planeemos nuestros movimientos con antelación. Además, la posición de enemigos y otros elementos del escenario cambia tras cada intento, no vaya a ser que tiremos de memoria. Vamos, que el diseño propicia un estilo de juego reactivo: que el jugador no se acomode, que opere sobre la marcha, que improvise.

En Hotline Miami entrabas al edificio, observabas la situación y operabas en consecuencia. No es que trazásemos un plan, pero existía cierto cálculo, cierta táctica. En Ape Out tiras pa'lante y te adaptas a lo que surja. Y tiene todo el sentido: uno es un juego de asaltar, el otro de huir. En uno vas armado, en el otro estás indefenso.

Por eso Ape Out tiene tanto que ver con el jazz, por eso encarnas a un primate (en vez de a un humano) y por eso el objetivo es escapar. La acción ha de sentirse improvisada, urgente, desesperada incluso. Y lo consigue.

Ya know, I was gonna start this review with my usual personal story opener. I was gonna talk about how I was interested in this game because of Chuggaaconroy's Let's Play that had just come out. I was gonna talk about how I bought a copy at TooManyGames 2019 and saw Thrown Controllers live. I was gonna talk about how I was going to have Chugga sign my copy and I was disappointed in the end that I missed my chance while I was there. So, for this to be my first mention of the guy in any of my reviews, and I'm putting this review out after all the stuff that's come out in the past week and a half? Probably the worst timing imaginable since I had planned this opener from the start lol. (Edit: with the recent statement Emile put out, I have decided to delete the part saying I'm done with him.)

Sorry to start this on a negative note. I figured it needed to be said since I've had this on my mind for the past week and a half. Either way, on to the actual game. I did play like a half hour of this game back in 2019 but dropped it for whatever reason. It was one of my most hyped games in my backlog and while I don't absolutely love it like some people, I did think it was pretty great overall!

Let's start with the story of Chrono Trigger. It's a typical time travel story but it's executed very well! Throughout the game, you're traveling through various different time periods, meeting various different characters along the way. It's light hearted and really picks up in the last third of the game when shit goes down. While the story overall is executed well, flawless in pacing too, I can't say I loved it as really nothing about it blew my mind. Future square games, while maybe more imperfect in their execution of their stories (like FF7 or FFX) I enjoy way more just because they're way more impactful to me. That's not to say the story is bad in Chrono Trigger, it definitely is not, it's just not mind-blowing like I was expecting from such a well regarded JRPG.

Onto the cast, I really liked most of the characters! They all have little arcs that come to play in the story and those are my favorite bits of the story, just seeing the characters interact and grow. My favorites were Frog, Robo and Lucca..they just felt the most impactful of them all. My only issue and it's another bigger one sadly, I really wish there were more scenes of the entire party interacting and more specific character scenes in general. Once you go through a characters arc, you don't really see much from then again unless you have them in your party during a big story moment. There are little scenes here and there that do involve specific characters but I really wanted more of that. The best parts of the character development and worldbuilding and honestly they were maybe my favorite parts of the game as a whole, were the endgame optional side quests. Most of them were super great in fleshing out the characters more, I just wish that happened more in the actual story. The one where you have Robo help Fiona for 400 years, and you learn about something that happened in Lucca's past and Robo comforting her...god it was so good. But I wanted more of that! So while I did really enjoy the cast as a whole, I just wish they were more prominent in the story and not just tied down to who's in your party. Because sadly someone like Marle I completely forgot about for a while cuz I didn't find her fun to use so she wasn't really involved in the story. Also in regards to the main "villian", Lavos. They're alright..it's just a big towering obstacle in your way but I never loved it as it obviously doesn't have any dialogue and thus I never felt any type of connection to them compared to other JRPG's I've played. Everyone kept talking about Lavos but the being itself didn't do much for me besides having a cool design.

The presentation is honestly mind blowing for a Super Nintendo game. I did play the DS version so idk if the visuals were totally the same or not but what I played here was goddamn impressive. The little animations each characters have are crazy, especially if you compare it to something like Final Fantasy VI which came out a year prior to this. The areas are very rich in detail and the world as whole, while being relatively small in scope, felt alive because of the amazing visuals. Along with the presentation is the great OST. Now I won't lie and say I'm in love with the OST as a whole as of now, but each time I listen to it I'm liking it more and more and it truly is great. The standout themes for me were Frog's Theme, Schala's Theme,and Secret of the Forest among several others.

The combat is another thing I think was super well done. It's ATB like the Final Fantasy games from 4 onwards but in Chrono Trigger's case, positioning of the party plays a part. Instead of the characters being lined up all in a row, depending on encounters they can be in different postions on the screen. The character's moves can then take a part in this as some only hit enemies when they're close to you or some multitarget enemies when they're bunched up. I thought this was really fun and added something new to the combat system we all know. That plus tech moves which are specific moves that involve two more more characters when their ATB gauge is full, it adds a lot of variety to the combat. There is a ton of tech moves btw, with it being between every single character and I don't think I even unlocked them all, I doubt I even performed half of them. Gives the game a bit of replayabiliity I'd say.

Something else that makes the game replayable in my eyes is the addition of NG+ and the different endings this game has. I got the Beyond Time ending but I believe there's around 10 endings to get. You get these by defeating Lavos at different points in the game. The fact you can technically beat the game at any time, is not only awesome but with the addition of ng+, makes it feel worth it to get every ending. That plus the game is like 20 hours on a first playthrough so it's a short JRPG overall. This was also one of the first instances of NG+ in a game too which is so cool. Like I said, I got one ending but that's it. I plan on going back to get all the other endings eventually and do that NG+ only extra dungeon and final boss added in the DS version.

Speaking of something else added in the DS version, along with doing all the normal side quests which were great, I also did the Lost Sanctum. This, in my opinion is a pretty crappy addition to the game. It gives you good items but the whole thing is just meaningless fetch quests, going up the same mountain like 20 times and fighting some mediocre bosses. It's not worth the hassle and story-wise I just don't care at all. There was also this arena the DS version added too and I didn't mess with it much, didn't seem like my thing.

So yeah, overall the game is pretty great! I feel like this is a prime example of a jack of all trades but master of none game. Everything is really solid and well polished but nothing is super exceptional except for the music. Personally, I prefer more ambitious games that may be messier in execution..tho I also love Xenoblade 1 and relecting on that game, it's also pretty safe. Maybe chalk it up to when I played it then, I probably would have absolutely adored this game if I played it as a kid..but as of now, I just think it's a great classic game that does deserve the praise it gets! Anyways, now I'm wondering how I'll feel about Chrono Cross as that one seems more split. Ah well, guess we'll see!

Recommended by XenonNV as part of this list.

Partway through OMORI it dawned on me that there's a timeline where this game managed to release when I was in high school and I would've 100% made it a core facet of my personality for years.

OMORI is more likely than not the game that comes to everyone's mind when they think of the quintessential "Quirky Depression Earthbirth RPG", the hypothetical dead horse that encapsulates a lot of people's gripes with the modern indie scene and all it's eccentricities, and, to concede to that stereotyped image somewhat, it's for the most part true. OMORI is part lighthearted and surreal RPG about the titular main character and his adventures in the wonderfully quirky dream world of Headspace, and part mental health story about Omori's real-life counterpart Sunny and his struggles in the mundane reality of Faraway Town with his own mental health and relationships. The primary issue with OMORI however is not really with it's oft-maligned aesthetic or subject matter, but rather the fact that it's a complete tonal mess.

Headspace, as a dream world inside of Sunny's head, is obviously allowed to be a little surreal, as it's where most of the game's Earthbound DNA is apparent, from it's cutesy enemies to it's fun cast of eccentric NPCs and elevated sense of reality where anything goes. It's where 90% of OMORI takes place and is, for the most part, incredibly charming and fun. The tonal issues start to become apparent though when the Headspace sections lead into the Faraway Town segments, where, despite supposedly taking place in reality, still have a little too much whimsy and Earthbound-esque atmosphere. There's still wacky NPCs to talk to and goofy part-time jobs to have, which, while still enjoyable, isn't enough of a contrast to Headspace and doesn't mesh well with the relatively grounded and serious interpersonal drama between the core cast that revolves around grief and loss. It results in OMORI feeling like two disparate Quirky Earthbound-likes being duct-taped together without any real cohesiveness between the two halves, and only causes more issues down the line when the plot in Faraway town starts to actually go somewhere.

Headspace initially starts off as a low-stakes kid's adventure, which is perfectly fine for the Prologue, where it uses that initial impression to disarm the player when they first enter Faraway Town in the real world, but as is soon made apparent, Headspace is pure fluff, a complete nothing-burger that only really serves to pad out the runtime. Compared to the snappy pace and relative brevity of Faraway Town, Headspace tends to drag on for hours at a time with absolutely jack-shit happening, both literally and thematically. The various sprite animations, fancy textbox effects and UI is very charming and appealing at first, but the frequent use of them & their annoying length results in a start-and-stop gameplay flow that delights in wasting your time, and it's an issue that only gets worse as the game goes on, where long stretches of overly-goofy filler plot happen without anything substantive to bite into, that do nothing but pad out the runtime so the game can hit an arbitrary length quota. In addition to this, the idea of Headspace reflecting Sunny's inner thoughts is frankly underutilized, when that connection to the main character's subconscious could've been used to give the lengthy Headspace segments some more weighty thematic story relevance beyond simple visual callbacks to Faraway Town.

Despite the long stretches of nothing filler that feel like having a sugar crash, when OMORI wants to get serious, it can actually deliver more often than not. The subtle underlying horror of Headspace is pretty effective when it wants to be, and the drama of Faraway Town, while coming across like an afterschool PSA more often than not, is actually quite engaging and emotionally competent, but because OMORI is trying to maintain it's pastel Sanrio Lo-Fi Kawaii Future Bass Tumblr aesthetic at all times, this results in even the serious moments lacking punch because of the fact it's edges have been sanded down as smooth as possible for the sake of palatability. This is made most apparent with it's final plot twist at the very end of the game, which, without going into spoilers, is an insanely dark and out-of-left-field bout of tonal whiplash that is not only a massive misstep in the solid framework of the game's plot up until then, but is scrapping against the game's Instagram Self-Care™ Awareness Post-ass final message of overcoming depression and self-doubt by not being afraid to rely on your friends for help. It's way too big of an elephant to ignore and not something you can just drop in the player's lap and treat with the same levity with which the more mundane mental health struggles are in the plot. It's the most frustrating aspect of OMORI by far because I can see how it could work! It's not even presented badly in-game (in fact, the reveal is one of my favorite moment of the game bar none), but it's consistent adherence to the vibe initially established by Headspace ends up dragging what should be a master-class twist down hard.

OMORI is a frustrating, mixed bag of a game I want to like more than I do. It's playing all the right notes, and even manages to tug at my worn-out heartstrings with a surprising frequency, and I can see the appeal behind it; how it's managed to gather such a devoted fanbase that was emotionally wrecked by OMORI's style and presentation. However, it's too bloated, too messy and too toothless to make the landing it desperately wants to make. The video game equivalent of eating raw sugar by the handful.