130 Reviews liked by Onilux



An incredibly human game that isn't interested in embellishing the mundanity of death for anyone's benefit. Adios is a game about accepting the inevitable and trying to examine what makes up a life. It's getting a lot of unfair hate right now and honestly it's a case of "not every game is for every person".
Whether this ends up being a game for you or not, it's well voice acted, emotional, and reflective. A perfect product of exactly what genre it exists in that's worth the short playtime if you can take a moment to suspend your disbelief and embody where it places you.

This review contains spoilers

"Hey there, everybody. It's Zane, from hypno. Did you know? My favorite things are... jumping into the sludge, stale sloppo, chill soda without any ice, the newest album of Sipage, aaaand Terds. See you in the Slayers X, everybody."
As an FPS, Slayers X is a wild ride, calling back to the Build Engine games of the 90s with an insane amount of interaction with the maps and the content, making real spaces while having fun with the encounters inside them, and using the weapons as extensions of the aesthetics rather than just your standars tools of the trade. One outstanding example of this is the glass blazta, functionally the shotgun of the game, using pieces of the enviroment as ammo, merging scavenging and exploring to a deeper degree.
The presentation of this game is something else, too. Captivatingly ugly yet a smooth play from start to finish, a gift to the cool teens from the 90s from their adult self. Almost looking like it shouldn't work, the way everything looks like it's barely holding together really elevates everything in here, somehow making what appears to be a very basic palette of colors look like a rainbow in comparisson to what other games bring to the table. The devs are complete masters of this whole shtick, and I really can't wait for what they cook next.
Now humor me for a second here. I'm gonna go on a completely weird metatextual tangent on what I feel the game is actually about, and I'll spoil both Hypnospace and this game. I recommend scrolling a bit on his wikia page, particularly on the twitter hyperlinks it has to learn more about the character outside the games. This is entirely my own theory (my GAME THEORY) so expect me to overread everything to hell. If the vibes are not to your liking, please pretend it's all a joke and read the weird parts with that voice hbomberguy and SuperEyepatchWolf use at the "serious" parts in their videos. You know the one.
The narrative of this game explains that what you're playing isn't a 100% exact recreation of the game designed by teenager Zane, edgy kid from an alternative reality 90's, and a survivor of a dream internet Y2K event, but adult Zane, a dad working a deadbeat job tackling this as a way of giving his past self some bragging rights. You can see a lot of this in the "scrapped" levels you unlock after finishing the game, with an almost 40 years old Zane taking great pride in how much his past self made as a hobby, recreating places he used to be around that time. Yet you start to see some cracks in his demeanor while you play.
In the first level, you learn your mother has been killed by the psykos, the enemis of the game, to which Zane just responds with a "RIP Mom" at first. Yet there's something in his voice when this happens, a weirdly sad delivery from the voice actor playing Zane as an adult. When you finally go around and reach her apartment room, you hear a clearly uncomfortable Zane talking about how he misses his mom and wishes she was still there, looking at her stuff and chocking a bit before speaking. Maybe because I also lost someone dear to me recently, I'm trying to find a way to connect with this fictional character that I found really charming on a game I played before this person passed away, happy to see him alive and well. In a digital way, at least.

Similar situations happen fairly repeatedly on the game, with Zane revisiting his game 20 years in the future and out of discomfort or just straight up "growing out of it" editing parts of it, never fully commiting to erasing what that 15 year old kid was cooking, so you see strange things like a fence separating in half the bed his mother and step father slept in, a lack of interest in acting the death by his own hands of his teenager sweetheart in a boss battle, making them feel like bumps in his own road to having a good time while revisiting his old memories.
You can also feel this in the way the game feels like it's being future proofed for his own son, with cursing being entirely removed from it, with even some already admitely safe words being replaced (something you also see in Hypnospace, yes, but I chose to read that as a mix of Zane trying to avoid getting banned for harsh language when I played and the weird American culture of avoiding extremely tame subjects) with stuff liek "terds" for turds to try and shape them into what he thinks a proper person should be, while also trying to look cool with the cartoonish yet bountiful gore inside the game.
I know this can totally be seen as going in too deep, Zane is presented as somekind of idiot after all, constantly making spelling mistakes and going out of his way to look cool while sounding deadpan, but I can't pretend some moments got me completely undefended and shaped what I thought of it.
What a game, man. I'll be thinking about this for a while.

this was cool until i randomly fell into an insta-kill river because i just started sliding for no reason while standing still... right before the end. get fucked

The first few hours are really fun then it starts having the most annoying enemy encounters in the tiniest rooms with the worst camera angles while enemies don't dither so you are completely blind. You are fighting the auto targeting more than the enemies in this game. The final hours are a complete slog. The game reveals at the very end it has branching paths which is why half the cast just dispears half way through the game depending on what you do and why some plot points are left completely unanswered. It seems you have to play the game 4 times to see it all, fuck that

Jesus Fucking Christ that was so bad I fucking hate my life. The cacophony of sound was unbearable this time, specially since it's x2 times the lenght of the original, and now the game also screams and shouts and laughs at you with honest to god one of the worst voice acting I have ever heard on my life. Thottie Banban could get it tho.
I had to restart multiple times because of the sheer wailling on my headphones preventing me from learning how to play and it actually crashed once when I was doing a puzzle. Feels profoundly more caucasian than the previous game, somehow.

"i understood! i understood!!", i continue to insist as i slowly shrink and transform into a red slider turtle.
TSC comes up as a really cool cyberpunk-y hardboiled story (cyberboiled?) about the evils of goverment and the messianic powers of the blooming internet in the, then thought, wild turn of the millenium. The cigarette smoke fills the air on this game just as it does on my room right now, as I write this.
Divided in two parts, Transmitter follows the work of the Heinous Crimes Unit, with bothcharacters and the player have to reconcile with the fact they are being functional to a conspiracy aimed to maintain the people in power forever. Placebo, on the other hand, fittingly explores the work of a freelance journalist and his interactions with said conspiracy and the consequences that come with that.
On a more deep level, I believe the themes of killing the past revolve around the idea of letting go of the burdens one contracts along the walk of life. Characters constantly have to face have to face moments where they have to put their past to rest, and even the game's narrative does this, sometimes refusing to elaborate on previous plotlines. Although I don't fully agree with the idea of letting the past rest, which in this particular [silver] case takes more of a "shoot the dog laying" rather than letting it sleep, I do admire the way Suda allows the burdens of yesterday to shoot him in the back if it allows him to face tomorrow.
Overall, it's a really cool package that asks you to vibe with it rather than understand it, something that I do think is repeated in most of the works of Grasshopper.

The Silver Case is a wonderful, thought provoking game that dares to ask the question "what if everyone I knew around me secretly glowed in the dark?"

I played this bullshit while getting spammed Better Call Saul riffs, Laura Palmer screams and a miriad of other funny meme sounds at x10 the sound they should play, I got so fucking dissoriented I thought I was going to have a panic attack. All just to get the intended experience by the devs: A child who still hasn't learned how to read, has been left alone by their parents and is still susceptible to the sweet release of an epileptic fit.
This is what stimulates your cousin for 14 hours straight every single day. Actual hell on earth.



Me and the bad bitch I pulled by being autistic:

When I was younger I used to be in the "why even bother with the horror elements" camp, but now? That's probably the best call they could have made, because that bit of idiosyncratic design gives this game something that separates it from the bunch. It gives the game this sense of having a very unique vision behind it, that Monolith had many, many, MANY ideas for this game and were not interested in cutting any.
There are legions of tactical first-person shooter games, most of them come across as tech demos, but there is one "science fiction j-horror karate kicking tactical shooter" and it's fucking F.E.A.R, and it is the best fucking shooter ever.
The only review that could ever do justice for F.E.A.R is just a clip that showcases any firefight in the game. That's the review. If you see that and aren't curious about playing it it's not the game for you. Any words waxing poetic on how good it feels to shoot guys in F.E.A.R is the classic "dancing about architecture" bit, words just fail to convey anything.
Anyway, I'm done talking about F.E.A.R now. Why? because I know you've played it. Why do I know that? Because you like good video games, of course you've played F.E.A.R.