157 Reviews liked by Onilux


"fuck it, finally a fantasy"
~fred durst (2021)

consistently fun but bogged down by way-too-frequent mmo-esque fetch quests, a dogshit main antagonist and jill's comical lack of characterization

when it hits though, it really fucking hits. clive is a terrific lead, (kupka is also a fantastic rival) every major set piece manages to one up the last and the combat, while a bit easy for an action game absolutely braindead, is really fucking fun

only ps4/5 game thus far to feel like a truly "next gen" experience and a crystal clear reminder of the heights this series can reach when it's not rife with developmental problems

edit: that last line is still mostly correct but not in the way i'd like. it's certainly next-gen in terms of scope and scale with regards to spectacle, but the actual writing is piss poor. this was very much a honeymoon game and ng+ made it clear. xvi feels like a first draft

Hrot

2021

i see so many people call this a Quake-like when the only similarities this game has to Quake are the swathes of brown textures and some of the enemy roster, most notably an obvious spin-off of Quake's ogre. This is at its core, a Chasm-like with Duke Nukem 3D in the mix. and being a Chasm-like means it's more like Wolf3D than Quake. wait i gotta add that its also atmospheric like Quake so i guess its equal parts Quake and Wolf3D. Chasm was originally supposed to be a competitor to Quake but when playing it, it feels more like a more 3D Wolfenstein3D with an Eastern European flavor. so HROT is essentially all of that. A game that has the maze-like levels of castle Wolfenstein with Quake's violence and despair with Eastern European culture plastering it in Duke Nukem 3D's playful interactivity. HROT is a passion project. its a love letter to its inspirations and the developer's homeland's history and culture. even ignoring that, it's a fun time. gunplay is decent with the low fidelity presentation but lackluster sound design, but the enemy encounters are what make the combat fun. especially in episode 2 and some of episode 3, the game gets creative with its imposed limitations to make some fights memorable. the boss fights are the most notable of these encounters, usually being the highlight of an episode with not just their arenas and build-up but also by their uniqueness. the other memorable part of the game is the dense atmosphere in its simple presentation. the ambient soundtrack underscores the dreadful world painted in sick browns, nauseous greens, and pale offwhites. its mundane and haunting, full of otherworldly horrors and boring miscellanea like canned meat. horror contrasted by absurdity while all being equally normalized to its grounded setting. pairing the passion with this atmosphere is what pushes me into the "yea this is my shit, i love it too much" camp. i can set aside most of its shortcomings just because of the sheer passion put into this. a fun trip of love to surpass its labyrinthine sewers, currently one of my favorites of the year.

Hrot

2021

The Committee on Science, Arts and Culture declares that HROT does not contradict the party's policy on the ideological and cultural front but needs corrections.

The events in HROT are not entirely connected with the daily lives of the workers and peasants. Therefore, the developer is obliged to re-write HROT or [REDACTED].

Glory to the Party! Long live the Socialist order!

the protagonist immediately outs herself as a sociopath, but she's by far the most righteous out of the entire cast. this is also one of the few pieces of media i can think of that accurately displays how fucked in the head white supremacists are... among other things

if that makes your head tilt in a positive way, check it out. i don't even have to hesitate giving this a 10. i laughed way too hard at the godlike voicework (some of the best va of any game/vn/whatever) to care about the shitty renpy engine

Norco

2022

Complicated and winding, Norco is a game that defies and embodies the genres it's assembled from. Part existential RPG, part 90s style point & click, Norco is a painful and intelligent game to its core. You don't play Norco to be happy, or to enrich yourself per say, but because it reflects humanity at a very universal level.

Your enemies may occasionally be security guards or impressionable cultists, but the ones driving them, you, and everyone else in Norco are more present and dangerous. Religious paranoia fuels radical violence, poverty informs where you go and what solutions you can partake in, and the constant threat of a world ravaged by humanity, where flood waters rise constantly at your front door, forces into you a dread that you can't just turn-based battle away.

To reduce it down, Norco is WEIRD. And I mean the good kind of weird. The kind you'll be thinking about for weeks after, and that makes you want to find a way to express the feelings in you that you can't ever seem to say right. For all its technical jank and dubious narrative conclusions, Norco is a game that will make you want and make you fear how badly you do so, and I mean that as the highest praise.

PEAK. JACK GARLAND IS MY GOAT

Adios

2021

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.

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.

A small sample of what I had to go through

"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.

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.

Loads, epic cutscene, everyone is on rails and there's ninjas running around, this is sick!

Crazy bright menu everyone's dancing here's some emotes!

Cool!!

Okay now I play :D

3 minutes pass

In game, no gun, somebody else has gun. Blam blam I'm dead.

YOU PLACED #97

Bad luck, just try again

3 minutes pass.

Go for edge this time, somebody is already at the nondescript gas station I picked. Guns me down after I get to the ground.

YOU PLACED #99

That's literally last place...

Ok one more try :/

....

.......

.......

YOU PLACED #92

I got filtered by Fortnite, lobbies too sweaty. Pls fix MMR, I can't play.