PedroF4g1m
31 reviews liked by PedroF4g1m
Heavy Rain
2010
Quite possibly (and quite likely to be) one of the funniest video games ever released. David Cage is like the Ed Wood of the video game industry, but only if Ed Wood had zero charm, a legacy that’s seen as a joke rather than an inspiration, and a fandom of incredibly strange sycophants who have tricked themselves into thinking any of his stories would be able to hack it on daytime television.
Heavy Rain is an experience, and one that you legitimately owe it to yourself to play. This isn’t because it’s good, but rather because it’s atrocious. Games critics were over the moon for this back in 2010. People were desperate to totally own Roger Ebert for saying video games couldn’t be art, so they latched onto shit like this. It’s a poorly-acted, poorly-scripted, poorly-thought out mess. It's like a living guide on how not to make a game. It’s incredible. Get some friends together and make a stream night or two out of it.
Ethan Mars can have both of his children murdered and then be propositioned for sex by his new love interest while kneeling atop their graves. He then walks to his car and kills himself. This is supposed to be sad and not actually the most hilarious thing you’ve ever seen in your entire life.
Heavy Rain is an experience, and one that you legitimately owe it to yourself to play. This isn’t because it’s good, but rather because it’s atrocious. Games critics were over the moon for this back in 2010. People were desperate to totally own Roger Ebert for saying video games couldn’t be art, so they latched onto shit like this. It’s a poorly-acted, poorly-scripted, poorly-thought out mess. It's like a living guide on how not to make a game. It’s incredible. Get some friends together and make a stream night or two out of it.
Ethan Mars can have both of his children murdered and then be propositioned for sex by his new love interest while kneeling atop their graves. He then walks to his car and kills himself. This is supposed to be sad and not actually the most hilarious thing you’ve ever seen in your entire life.
Mentalidade Yui Tanimura
- Faz uma área merda
- Te incentiva a rushar já que explorar não presta
- Bota inimigo pra dificultar rushar a área
- Bota um boss merda no final pra você ter tentado rushar por nada
- Se recuse a desenvolver
- Saia
- Faz uma área merda
- Te incentiva a rushar já que explorar não presta
- Bota inimigo pra dificultar rushar a área
- Bota um boss merda no final pra você ter tentado rushar por nada
- Se recuse a desenvolver
- Saia
i think the all bosses run of this game actually shortened my life expectancy
Não é completamente uma merda igual o que todos falam, realmente é bem abaixo do nível do 1, ele realmente segue a mesma fórmula, tem gráficos melhores e mais diversidades de armas mas não tem um boss marcante todos foram completamente ruins e esquecíveis os que se salvaram foram os da dlc, a história não entendi nada e nem fui procurar entender , por mais que seja o mesmo tipo de jogo o dark souls 2 é muito um dark souls sem sal, sem nada, não tem nada de impactante ou marcante, ou algo que vc fala "MEU DEUS QUE FODA" ele é apenas mais um jogo estilo souls que ficou ali sem a sua essência. Em alguns momentos foi um jogo divertido onde eu tinha o interesse de explorar, procurar item matar todos os boss possíveis mas acaba que o jogo se extende tanto tão desnecessariamente com lugares que não fazem sentido nenhum que chega um momento que você só quer terminar esse jogo de uma vez por todas
I would like to apologize for all the times I said "Dark Souls II is bad for a Souls game, which is still pretty good."
It's truly incredible that a game which so obviously prioritizes quantity over quality still manages to feel so small. Every level is little more than a series of hallways connected by elevators, tunnels, trenches, and canyons. There is never any sense of place. When I played Bloodborne again recently, I constantly felt tricked by the sheer amount of detail outside of the play area, that the game was compensating for something; it's incredible that Dark Souls II came out only one year earlier and tries to cover the same tracks with little more than JPEGs of mountains. It's a PS3/360 game, sure, but it's still the most ugly and empty Souls game of its generation.
Combat is basically ruined. Positioning-focused playstyles are virtually useless because of how strong the enemies' rotational tracking is, not to mention many enemies have a slam attack that limits your walking speed even if it doesn’t make contact. Parrying has been slowed down to the point where it can't really be used reactively to most attacks. Dodging has had its effectiveness tied to a stat that most players won't understand the significance of unless they read a wiki or otherwise engage with a community outside of the game itself (undermining both the combat and the game's own integrated social features), and the hitboxes are sloppy enough that it doesn’t feel right anyway. Every aspect of Dark Souls II's combat design discourages active play; the shield is more central to the game's "conditioning" than in any other From Software game simply because it’s the only effective defensive option left.
Dark Souls II's ending is the same as the first, the player's character is given a choice; unlike the original however, the player does not actually choose, the choice is only implied. The fact that there is a Dark Souls sequel at all in the first place has already invalidated the player’s decision at the end of the prior game. Link the fire or let it die, the curse will return all the same. The entire game seems dreadfully aware of how pointless the endeavor of making another Dark Souls was in the first place. Its world has no believable structure, its characters have no memories and only sparse motivation. The gameplay has changed form not to try to be interesting on its own merits, but to induce the same feeling as the first game to the detriment of all else.
Dark Souls’ bloodstain system was an effective way of encouraging the player to learn the game; your souls are left wherever you died, and surely since you got there once before you can do it again, and probably have an easier time of it with newfound experience. Dark Souls II does everything it can to reproduce this effect not on the player-end, but within the level design. The game is full of dark areas, but if the player lights a torch it stays lit forever. Some areas have as many as four NPC invasions, but a defeated invader stays dead. Even regular enemies will stop respawning if the player kills them enough times. Dark Souls might have felt like a wall that you were chipping away at, but the change wasn’t happening in the game, it was happening in your head, in your hands. Here, the gameplay absolutely is just an obstacle to whittle away at.
Towards the end of the game, the player travels into the memories of dead giants. Their tree-like corpses give off some strange glow, like the insects in the game’s intro cinematic. To some extent I wonder whether this is meant to imply that the entire game takes place within a mere memory, that the lack of insight into the characters and the fragmented geography is meant to represent things not remembered. Perhaps too, the only value of the game is its intellectual property, the memory of Dark Souls.
People have always speculated about or wished for a sequel to Demon’s Souls or Bloodborne, but the conflict of those games is over, the threats which drove their premises are out of the picture. Dark Souls was itself the same, a total work, and making a sequel was always a fool’s errand. Some complain that the diegetic emphasis on dying and losing you souls is some kind of cheap marketing ploy, leaning into the games’ reputation for difficulty, but the very use of the Dark Souls brand was in the first place a cynical decision. What else was there for them to do?
Quelaag was a spider lady because the first flame was fading, and the witch of Izalith tried to conjur a new one; this artificial flame became chaos, a cursed lava that transformed people into insectoid demons.
Najka is a scorpion lady because Dark Souls had a bug lady too, and they want to do another one like that.
Sure, in the beginning Quelaag also probably started out as “just a cool idea for a boss”, but what made Dark Souls truly special was that everything, even silly video game bullshit like the monsters you fight, had its place in the world. Why was Blighttown poisonous, and why did the people in Blighttown look the way they did? Because Blighttown was in the runoff of the Lordran sewer system. Why are the Gutter and Black Gulch poisonous? Because it’s Dark Souls! There has to be a dark and difficult poison level! Why do the people of the Gutter look all sickly and green? There is no particular reason, every hollow in Drangleic looks like that. It’s interesting that Hidetaka Miyazaki has said that he tries to make sure that even the monsters in his games have a sort of nobility, and that the only game in the series that he did not direct immediately took the sharp left turn of making the undead look like stupid green zombies.
Dark Souls II makes a lot of great quality of life adjustments that would carry over into future entries, but virtually all of them feel like bandages on mortal wounds dealt to Dark Souls’ design. You can re-spec your character, likely because by the time you realize how important adaptability is you’ll be so far into the game that you’ll need to kill multiple bosses to add a single frame of invincibility to your dodge roll. Changing or removing weapon infusions no longer requires lowering your weapon level, and it better not since they got rid of the actually useful scaling infusions and replaced them with the brilliantly useless “mundane” weapon.
The environmental design and aesthetic of the DLC areas is absolutely the highest point of the game, but it isn’t enough to save it. It’s the same game, with the same combat system, and the same types of encounters seen in the base game.
You could do worse, and many trying to ape the Souls style certainly have, but this one is really only recommended as a curiosity.
It's truly incredible that a game which so obviously prioritizes quantity over quality still manages to feel so small. Every level is little more than a series of hallways connected by elevators, tunnels, trenches, and canyons. There is never any sense of place. When I played Bloodborne again recently, I constantly felt tricked by the sheer amount of detail outside of the play area, that the game was compensating for something; it's incredible that Dark Souls II came out only one year earlier and tries to cover the same tracks with little more than JPEGs of mountains. It's a PS3/360 game, sure, but it's still the most ugly and empty Souls game of its generation.
Combat is basically ruined. Positioning-focused playstyles are virtually useless because of how strong the enemies' rotational tracking is, not to mention many enemies have a slam attack that limits your walking speed even if it doesn’t make contact. Parrying has been slowed down to the point where it can't really be used reactively to most attacks. Dodging has had its effectiveness tied to a stat that most players won't understand the significance of unless they read a wiki or otherwise engage with a community outside of the game itself (undermining both the combat and the game's own integrated social features), and the hitboxes are sloppy enough that it doesn’t feel right anyway. Every aspect of Dark Souls II's combat design discourages active play; the shield is more central to the game's "conditioning" than in any other From Software game simply because it’s the only effective defensive option left.
Dark Souls II's ending is the same as the first, the player's character is given a choice; unlike the original however, the player does not actually choose, the choice is only implied. The fact that there is a Dark Souls sequel at all in the first place has already invalidated the player’s decision at the end of the prior game. Link the fire or let it die, the curse will return all the same. The entire game seems dreadfully aware of how pointless the endeavor of making another Dark Souls was in the first place. Its world has no believable structure, its characters have no memories and only sparse motivation. The gameplay has changed form not to try to be interesting on its own merits, but to induce the same feeling as the first game to the detriment of all else.
Dark Souls’ bloodstain system was an effective way of encouraging the player to learn the game; your souls are left wherever you died, and surely since you got there once before you can do it again, and probably have an easier time of it with newfound experience. Dark Souls II does everything it can to reproduce this effect not on the player-end, but within the level design. The game is full of dark areas, but if the player lights a torch it stays lit forever. Some areas have as many as four NPC invasions, but a defeated invader stays dead. Even regular enemies will stop respawning if the player kills them enough times. Dark Souls might have felt like a wall that you were chipping away at, but the change wasn’t happening in the game, it was happening in your head, in your hands. Here, the gameplay absolutely is just an obstacle to whittle away at.
Towards the end of the game, the player travels into the memories of dead giants. Their tree-like corpses give off some strange glow, like the insects in the game’s intro cinematic. To some extent I wonder whether this is meant to imply that the entire game takes place within a mere memory, that the lack of insight into the characters and the fragmented geography is meant to represent things not remembered. Perhaps too, the only value of the game is its intellectual property, the memory of Dark Souls.
People have always speculated about or wished for a sequel to Demon’s Souls or Bloodborne, but the conflict of those games is over, the threats which drove their premises are out of the picture. Dark Souls was itself the same, a total work, and making a sequel was always a fool’s errand. Some complain that the diegetic emphasis on dying and losing you souls is some kind of cheap marketing ploy, leaning into the games’ reputation for difficulty, but the very use of the Dark Souls brand was in the first place a cynical decision. What else was there for them to do?
Quelaag was a spider lady because the first flame was fading, and the witch of Izalith tried to conjur a new one; this artificial flame became chaos, a cursed lava that transformed people into insectoid demons.
Najka is a scorpion lady because Dark Souls had a bug lady too, and they want to do another one like that.
Sure, in the beginning Quelaag also probably started out as “just a cool idea for a boss”, but what made Dark Souls truly special was that everything, even silly video game bullshit like the monsters you fight, had its place in the world. Why was Blighttown poisonous, and why did the people in Blighttown look the way they did? Because Blighttown was in the runoff of the Lordran sewer system. Why are the Gutter and Black Gulch poisonous? Because it’s Dark Souls! There has to be a dark and difficult poison level! Why do the people of the Gutter look all sickly and green? There is no particular reason, every hollow in Drangleic looks like that. It’s interesting that Hidetaka Miyazaki has said that he tries to make sure that even the monsters in his games have a sort of nobility, and that the only game in the series that he did not direct immediately took the sharp left turn of making the undead look like stupid green zombies.
Dark Souls II makes a lot of great quality of life adjustments that would carry over into future entries, but virtually all of them feel like bandages on mortal wounds dealt to Dark Souls’ design. You can re-spec your character, likely because by the time you realize how important adaptability is you’ll be so far into the game that you’ll need to kill multiple bosses to add a single frame of invincibility to your dodge roll. Changing or removing weapon infusions no longer requires lowering your weapon level, and it better not since they got rid of the actually useful scaling infusions and replaced them with the brilliantly useless “mundane” weapon.
The environmental design and aesthetic of the DLC areas is absolutely the highest point of the game, but it isn’t enough to save it. It’s the same game, with the same combat system, and the same types of encounters seen in the base game.
You could do worse, and many trying to ape the Souls style certainly have, but this one is really only recommended as a curiosity.
Amnesia: The Bunker
2023
A primeira coisa que ouvi quando me deparei com Amnesia: The Bunker foi que ele era uma versão melhorada de Alien: Isolation, um dos meus jogos favoritos. Logo após, assisti um conteúdo bem interessante sobre os tipos de terror e adivinha? The Bunker estava lá como um exemplo.
Com tantas observações e análises dizendo como o jogo era único eu não tive outra opção se não de jogar e a principio realmente parecia isso tudo, uma pena que ele acabou caindo no mesmo problema que vários outros jogos atuais.
Apesar do aparente enredo fraco, Amnesia tem como grande destaque a ambientação que passa com tranquilidade o que eu gosto de chamar de medo biológico, e esse é um recurso que sozinho conta uma história popularmente conhecida como sobrevivência.
Mesmo com essa maravilha apresentada, Amnesia repete o mesmo nível preguiçoso de perseguição, então ao invés de nos desafiamos a enfrentar barulhos ou a própria escuridão o jogo te obrigada a superar um ser imortal com grande desbalanceamento, tornando toda a sensação repetitiva a longo prazo.
Em teoria isso não seria ruim, afinal todos os outros recursos conseguem diminuir o problema anterior, porém quando adicionamos a falta de uma boa IA o jogo se torna frustrante e nem um pouco interessante.
Quer explorar o ambiente? Desculpa você vai ter que ficar no loop eterno de: entrar em uma sala, se esconder por 4 minutos, explorar, se esconder por mais 4 minutos e em seguida repetir o processo.
Sei que algumas pessoas podem dizer que é graças ao barulho, mas fiz alguns testes e mesmo sem me movimentar o ser continuava aparecendo na mesma sala, tornando todo o processo tedioso ao extremo.
Preciso dizer que fiquei bem triste em saber que não consegui curtir o jogo como gostaria, pois ele realmente parece uma obra feita com muito carinho, mas infelizmente as vezes só não é pra acontecer.
Com tantas observações e análises dizendo como o jogo era único eu não tive outra opção se não de jogar e a principio realmente parecia isso tudo, uma pena que ele acabou caindo no mesmo problema que vários outros jogos atuais.
Apesar do aparente enredo fraco, Amnesia tem como grande destaque a ambientação que passa com tranquilidade o que eu gosto de chamar de medo biológico, e esse é um recurso que sozinho conta uma história popularmente conhecida como sobrevivência.
Mesmo com essa maravilha apresentada, Amnesia repete o mesmo nível preguiçoso de perseguição, então ao invés de nos desafiamos a enfrentar barulhos ou a própria escuridão o jogo te obrigada a superar um ser imortal com grande desbalanceamento, tornando toda a sensação repetitiva a longo prazo.
Em teoria isso não seria ruim, afinal todos os outros recursos conseguem diminuir o problema anterior, porém quando adicionamos a falta de uma boa IA o jogo se torna frustrante e nem um pouco interessante.
Quer explorar o ambiente? Desculpa você vai ter que ficar no loop eterno de: entrar em uma sala, se esconder por 4 minutos, explorar, se esconder por mais 4 minutos e em seguida repetir o processo.
Sei que algumas pessoas podem dizer que é graças ao barulho, mas fiz alguns testes e mesmo sem me movimentar o ser continuava aparecendo na mesma sala, tornando todo o processo tedioso ao extremo.
Preciso dizer que fiquei bem triste em saber que não consegui curtir o jogo como gostaria, pois ele realmente parece uma obra feita com muito carinho, mas infelizmente as vezes só não é pra acontecer.
This game is so at odds with itself, it wants to be Kiryu's final chapter but also wants to cash in on that yakuza 0 newcomer boom. So what you end with is a game with a primarily fresh cast, that's isolated from the rest of the series. The ending attempts to bring some closure to Kiryu's saga, but it really just feels thrown in there. There's so much left unsaid between so many of these characters that I just can't really get behind the decision.
Unavowed
2018
Em todos os anos desde que comecei a jogar, poucas foram as obras que realmente me cativaram ao ponto de perder a noção do tempo e, mais raro ainda, foram aquelas que conseguiram tal feito pelo enredo. Apesar de inesperado, Unavowed entrou não só para essa lista, como também para a de jogos favoritos.
Mesmo sendo lançado em 2018, o jogo possui aquele ar de antiguidade que faz muitos jogadores sonharem com os momentos de nostalgia e a soundtrack com foco em jazz permite ainda mais essa sensação. Assim como aconteceu em Blackwell, franquia que se passa no mesmo universo, o jogo possui um único grande problema que são a falta de capital, ou seja, existem algumas partes que com um pouco mais de investimento seriam ainda mais desenvolvidas, mas infelizmente, sabemos que a vida de desenvolvedoras menores focadas em nichos não é de tanta sorte.
Como estamos falando de um jogo de point and click, sabemos que as principais características devem ser: narrativa, voice actor e estilo de arte e, como sempre a Wadjet Eye não falhou (tá, talvez tenha falhado no trabalho de organização do volume dos áudios, mas quem sou eu para reclamar de um detalhe tão insignificante perante todos os outros elementos?).
O enredo principal é extremamente criativo, e após a criação de personagem, já somos lançados em uma introdução que resume nossa situação como “possessão demoníaca”. A ideia de não saber o que aconteceu com nosso corpo por um ano é intrigante e ao mesmo tempo desenvolve várias possibilidades de enredo, o que torna a interação e a exploração ainda mais instigantes e inesperadas.
Diferente de outros jogos point and click que normalmente desenvolvem somente o enredo principal, protagonista e um personagem secundário, em Unavowed temos um grupo cativante de personagens divertidos e extremamente carismáticos. Sabe aqueles comentários de “eu sempre tenho dificuldade de escolher meus companheiros de aventura”? Então, aqui passamos pela mesma sensação, pois cada um apresenta diferentes comentários, opiniões, diálogos e interações com o universo e isso juntando ao elemento carisma, torna a sensação até mesmo angustiante.
Mesmo não sendo meu estilo, o Jazz presente em todo o jogo se torna tão ambiental que na maior parte da campanha o jogador nem sente que ele realmente está presente, porém existem momentos que ao invés de ajudar ele acaba atrapalhando e nem chega a ser pelo som exatamente, mas pela mixagem (parece ser um problema crônico dos jogos da Wadjet Eye).
Um dos maiores pontos negativos para muitos jogadores foi o desenvolvimento final, a falta de um final óbvio em questões gerais deixou muita gente com um gosto amargo na boca, mas sinceramente?
Eu sou do grupo que ama finais ruins, finais em aberto e finais que muitos odeiam, então acabei adorando todos eles, pois de uma forma bem positiva acabou abrindo espaço para uma possível sequência, situação que não seria possível se tivéssemos o final tão esperado pela maior parte da comunidade.
Uma única possível reclamação vem da falta de impacto das escolhas no final, porém a exploração e a forma como resolvemos cada uma delas são tão variadas e divertidas que sozinhas já evitam essa sensação de impacto.
Para quem curte o gênero, Unavowed é quase uma obrigação, pois se enquadra facilmente ao lado de obras populares como Syberia e The Longest Journey, já para quem está tentando entrar no gênero ou curte um enredo com plots e escolhas, esse também pode ser um ótimo jogo para gastar suas próximas 12 horas de vida.
Mesmo sendo lançado em 2018, o jogo possui aquele ar de antiguidade que faz muitos jogadores sonharem com os momentos de nostalgia e a soundtrack com foco em jazz permite ainda mais essa sensação. Assim como aconteceu em Blackwell, franquia que se passa no mesmo universo, o jogo possui um único grande problema que são a falta de capital, ou seja, existem algumas partes que com um pouco mais de investimento seriam ainda mais desenvolvidas, mas infelizmente, sabemos que a vida de desenvolvedoras menores focadas em nichos não é de tanta sorte.
Como estamos falando de um jogo de point and click, sabemos que as principais características devem ser: narrativa, voice actor e estilo de arte e, como sempre a Wadjet Eye não falhou (tá, talvez tenha falhado no trabalho de organização do volume dos áudios, mas quem sou eu para reclamar de um detalhe tão insignificante perante todos os outros elementos?).
O enredo principal é extremamente criativo, e após a criação de personagem, já somos lançados em uma introdução que resume nossa situação como “possessão demoníaca”. A ideia de não saber o que aconteceu com nosso corpo por um ano é intrigante e ao mesmo tempo desenvolve várias possibilidades de enredo, o que torna a interação e a exploração ainda mais instigantes e inesperadas.
Diferente de outros jogos point and click que normalmente desenvolvem somente o enredo principal, protagonista e um personagem secundário, em Unavowed temos um grupo cativante de personagens divertidos e extremamente carismáticos. Sabe aqueles comentários de “eu sempre tenho dificuldade de escolher meus companheiros de aventura”? Então, aqui passamos pela mesma sensação, pois cada um apresenta diferentes comentários, opiniões, diálogos e interações com o universo e isso juntando ao elemento carisma, torna a sensação até mesmo angustiante.
Mesmo não sendo meu estilo, o Jazz presente em todo o jogo se torna tão ambiental que na maior parte da campanha o jogador nem sente que ele realmente está presente, porém existem momentos que ao invés de ajudar ele acaba atrapalhando e nem chega a ser pelo som exatamente, mas pela mixagem (parece ser um problema crônico dos jogos da Wadjet Eye).
Um dos maiores pontos negativos para muitos jogadores foi o desenvolvimento final, a falta de um final óbvio em questões gerais deixou muita gente com um gosto amargo na boca, mas sinceramente?
Eu sou do grupo que ama finais ruins, finais em aberto e finais que muitos odeiam, então acabei adorando todos eles, pois de uma forma bem positiva acabou abrindo espaço para uma possível sequência, situação que não seria possível se tivéssemos o final tão esperado pela maior parte da comunidade.
Uma única possível reclamação vem da falta de impacto das escolhas no final, porém a exploração e a forma como resolvemos cada uma delas são tão variadas e divertidas que sozinhas já evitam essa sensação de impacto.
Para quem curte o gênero, Unavowed é quase uma obrigação, pois se enquadra facilmente ao lado de obras populares como Syberia e The Longest Journey, já para quem está tentando entrar no gênero ou curte um enredo com plots e escolhas, esse também pode ser um ótimo jogo para gastar suas próximas 12 horas de vida.
Tears of the Kingdom feels, for me, like what Majora's Mask was to Ocarina of Time. I mean, sure, they reused assets and all, but somehow I found this experience to be more fulfilling and engaging than Breath of the Wild.
For starters, I spent double the time that I did on BOTW, and boy did I enjoy it more, so much so that I found all 152 shrines, 120 lightroots, among many other things, things I came nowhere close to getting in BOTW.
Plus, just by playing and finding out, I could get many Armor Sets that were locked by Amiibo in BOTW. I found all the classic outfits + weapons because they were really cool to have (and to be honest, I was probably still mad because I couldn't get them in BOTW).
The new mechanics implemented with the arm, Ultrahand and Autobuild, Fuse, Ascend, Rewind, they kind of expanded the gameplay of BOTW into something more of a sandbox, like a Banjo Kazooie: Nuts & Bolts but done properly. Never a game wore the phrase "Fuck around and find out" on its forehead as good as TOTK has. Just, making shit to see what the hell happens is really fun, and I spent a lot of time into that.
The map, well, it's BOTW's, obviously, with certain modifications, and the added bonuses of the Sky and the Depths, which at least are a part of what made this game not just a glorified DLC. I enjoyed just exploring the depths, getting scared shitless when something popped up out of the darkness when throwing Brightbloom Seeds, loved that I could fight again my favorite (and not so favorite bosses) in the depths, in exchange of materials for improving my battery life.
Talking about the bosses, these were really fun, they weren't just sponges, they had their thing and even some were more challenging than others, they were all fun (except for Mucktorok, fuck Mucktorok).
And fighting Ganondorf, shit, games have a problem where they fumble the final battle after having a great adventure. Wll, for me, I enjoyed it quite a lot, and felt like a proper ending.
If you're able to play it, do it. It's a great experience.
For starters, I spent double the time that I did on BOTW, and boy did I enjoy it more, so much so that I found all 152 shrines, 120 lightroots, among many other things, things I came nowhere close to getting in BOTW.
Plus, just by playing and finding out, I could get many Armor Sets that were locked by Amiibo in BOTW. I found all the classic outfits + weapons because they were really cool to have (and to be honest, I was probably still mad because I couldn't get them in BOTW).
The new mechanics implemented with the arm, Ultrahand and Autobuild, Fuse, Ascend, Rewind, they kind of expanded the gameplay of BOTW into something more of a sandbox, like a Banjo Kazooie: Nuts & Bolts but done properly. Never a game wore the phrase "Fuck around and find out" on its forehead as good as TOTK has. Just, making shit to see what the hell happens is really fun, and I spent a lot of time into that.
The map, well, it's BOTW's, obviously, with certain modifications, and the added bonuses of the Sky and the Depths, which at least are a part of what made this game not just a glorified DLC. I enjoyed just exploring the depths, getting scared shitless when something popped up out of the darkness when throwing Brightbloom Seeds, loved that I could fight again my favorite (and not so favorite bosses) in the depths, in exchange of materials for improving my battery life.
Talking about the bosses, these were really fun, they weren't just sponges, they had their thing and even some were more challenging than others, they were all fun (except for Mucktorok, fuck Mucktorok).
And fighting Ganondorf, shit, games have a problem where they fumble the final battle after having a great adventure. Wll, for me, I enjoyed it quite a lot, and felt like a proper ending.
If you're able to play it, do it. It's a great experience.
Lady In Wading
1982
uma princesa peituda constrói uma ponte para chegar no topo da torre para receber rolada do príncipe, grande jogo! 👏👏👏
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