Esse jogo é uma masterpiece por completo, seja a qualidade pra época, até a jogabilidade fantástica!! Ficar correndo de Neon pela Seattle, subir aquele obelisco e ficar voando por aí, ficar matando civis por simples diversão, fazer os 2 finais, zerar no modo mais difícil só pra se vingar pela morte do seu irmão, chorar no final bom... Esse jogo é do caralho.
Já zerei ele mais de 9 vezes, platinei 4 vezes, e nunca, mas NUNCA, me arrependi de ter gastado 1 segundo com esse jogo.
Fun fact: Dediquei a música dos créditos sendo a minha primeira música que aprendi na bateria.

O Segundo jogo de One piece que zerei e o jogo é bom.
O mundo aberto achei vazio e com pouca coisa pra fazer, muitos momentos no jogo poderiam ser resumidos por cutscenes e momentos que possuem cutscenes não precisava.
O jogo em algumas partes é meio enrolado e as missões são muito repetitivas.
Porém, a história é legal e os personagens originais são legais, a Jeanne é uma Vivi 2.0, mas não é melhor que a própria e o Isaac é um bom antagonista.
Se você é fã de One piece vale apena jogar, mas não comprei com preço cheio, espere uma promoção, pois esse jogo não vale os 260 reais.

Whilst it isn’t a very well defined concept and a subject of much deliberation, art has a paramount importance not only in helping us pass through times, difficult or not, but also in stimulating our senses, allowing us to feel alive, to learn, to make our brains do the chemical reactions that feel good. It allows us to relate, to feel not alone. It’s something made by humans for humans; it’s precise enough for it to make its own statement, but at the same time it has an imprecision that allows us to interact and paint it with our own knowledge, to fill the blanks and interact with it making our own experiences unique. It’s an intense way of communication, it’s our gift.

Art, fiction, there are many names with many definitions that in fact all amount to the same thing, maybe with differences in the specifics and context, but it all fills that one purpose. It helps us, but more than anything, it changes us. Like life experiences do.

Oh, the irony of Alan Wake 2 portraying a world where fiction has the power to change reality around it, when the game itself is a piece of fiction that changes reality around it. Not necessarily in the same, literal manner, but it’s a work that changed MY perception of games.

It’s a labor of love, a passion project. You can tell by how much it loves its predecessors. The connections to Control (and obviously, Alan Wake, its DLCs and the standalone Alan Wake’s American Nightmare) are abundant and important to the overall plot, and there are even callbacks to Max Payne: namely James McCaffrey giving his voice to Sam Lake’s portrayal of Alex Casey; protagonist of Alan Wake’s main work as a writer and himself a reference to Payne.

There’s just this meta aspect that permeates this entire project from beginning to end. Sam Lake is Alex Casey, Alex Casey is created by Alan Wake, Alan Wake is created by Sam Lake and Sam Lake is Alex Casey. This metalinguistic ouroboros is one of many examples of how self-aware the game itself is. It’s a work of fiction about works of fiction, and it knows this fact, REMEDY knows this fact.

There’s even a certain goofyness to it that’s almost too on the nose. It takes the concepts like “The Dark Place”, “The Dark Presence”, or the villain being an evil doppelgänger of the titular protagonist named “Mr. Scratch” very seriously, but at the same time, it pokes fun at it. It’s just amusing to see the skeptic and serious Alan Wake losing his sanity lost in this hopeless but nonetheless bizarre situation.

It helps that the game sets the tone very early, making you prepared (but still surprised) for what’s to come. The very first segment sees the player taking control of a random, bloated, naked and dirty man with his balls out and his ass cheeks clapping; later on it’s explained who this man is, but for a first scene it’s quite shocking and impactful. It introduces the game’s format alongside its darker theme, inherent weirdness and very abundant jump scares. When making an immersive game like this it’s important to set the tone so players don’t get thrown off by the weirdness in the thick of it. It’s like if you’re reading this seemingly serious review about a game you like but suddenly they drop a “balls out and ass cheeks clapping” in the middle of it; it can feel jarring.

In that same vein, nothing’s out of context. It is, of course, a very bizarre piece of fiction, but even Alan Wake II’s most outlandish moments still have meaning and fit its plot, even if not in the clearest of ways. It isn’t set to answer every mystery, of course, it is a weird fiction game. It answers questions but leaves even more. It’s ambiguous. It wants to sparkle thoughts and more thoughts.

At the same time, it does feature a detective story, with mysteries sown explicitly and implicitly. It does solve the whodunnits and whydunnits and howdunnits but there’s more to it than meets the eye.

The mystery-hungry Saga Anderson is a wonderful addition and an amazing parallel to Mr. Wake. Not only does she fit perfectly into this world, the fact she’s completely oblivious to the situation at first makes her a good parallel to new players, and the way that the two different stories play out allows for the un-contextualized to keep up with the plot, since you can play each to its completion whenever. The way they come together is also masterful.

Saga’s Mind Place and Wake’s Writer’s Room make good use of the current gen hardware, allowing the game to mesh narrative with gameplay in many different ways, and their differences make each character feel wholly unique.

This connection is also exemplified in how game’s areas are wonderfully signalized. Not only do the maps offer precise information, they are beautifully designed to resemble what real life maps look like; each area with its own design. There are signs and directions that mesh with the background while still being perfectly readable and intuitive, AND making sense within the world.

Budget clearly was an issue, though. Not that it was low, it is an AAA title after all, but there’s enough evidence to infer that they were using every penny and dime they could. The lack of a physical release, for one, indicates that they’d rather used the money somewhere else. The game’s locations are very detailed and beautiful, but collision is weird. Characters often get stuck between small objects on the floor, or don’t properly fall from surface to surface. Subtitles (and sometimes even the voices) get out of sync in a few scenes. What is funny in all of this is that the game’s setting can sometimes mask the bugs, in a way that can even enhance the experience. Objects floating can be caused by bugs, but maybe it’s the Dark Place’s influence. Who knows?

It just shows that this IS a labor or love. They pulled out all of the stops to make Alan Wake II come true, and their vision came to life in the most marvelous of ways.

I just didn’t expect to fall in love with the game this much. It’s a wonderful thing, made by some of the most ingenious developers in the industry. My brain got fucked in real time, by the story, by the setting, by what I was witnessing, by the fact that the game’s so beautiful that sometimes I can tell the actual gameplay from the FMV sequences… it changed me. I don’t think Sam Lake or the team at Remedy made this game thinking of it as a work of art, but that’s what it is. It’s not a lake, it’s an ocean. Of semen. My semen.

Experiência cinematográfica (qualquer jogo da Sony lol🤣) espetacular.
A dublagem desse jogo é boa, a ambientação é linda com gráficos que não parecem de 2016, tem personagens novos muito fodas, com uma boss fight final MUITO BOA.
Porém, é o Uncharted mais pé no chão, mas ele consegue substituir a paranormalidade com cenas muito memoráveis.
Foi o segundo Uncharted que eu joguei e fez eu amar a franquia por completo.
Recomendo muito, um dos melhores jogos que eu já joguei na vida.