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.

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.

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.

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.