Y0ur1
Gameplay that is fundamentally at odds with itself combined with cringe 2010's YouTube humor (e.g. shit like "I identify as a devil and if you disagree you are devilphobic!" and "I'm a vegan metalhead. Did I tell you that I'm vegan?"). Maybe if they stuck to English words it could have worked but the combination of Latin, insane bullet hell, and unreadable fonts made the last few stages very unfun to play and eventually made me shelve it. The gameplay was okay up until that point and I do respect it for trying a combination so out there, but if it is a possible combination of genres this certainly isn't the game that proves it.
2018
The story is admittedly not that interesting, but these puzzles are unbelievably fun. This is the closest you'll get to Portal 2's highs, while still maintaining its own identity. It has the right amount of challenge without ever feeling too frustrating or overcomplex. The game is really pretty too and the way chapters are structured makes it feel you are constantly making progress towards a larger whole which is super rewarding. Great 6-hour game for Portal fans to distract themselves from the painful reality we'll never get a Portal 3.
2019
The game Metroid: Zero Mission wishes it could be. Jokes aside, the gameplay is smooth and fun, and a lot of the tedium from the old metroid games has been removed here (e.g. locking progression behind a limited resource; instead rockets are on a cooldown which is far more intuitive). I like the bond between our protagonist and her owner a lot too. The story is (appropriately) silly, but it's not like I expected a narrative masterpiece. The game does lack the atmosphere that oozes from the Metroid games, but partly makes up for that in infectious charm.
Not allowing you to continue the save file to 100% the game is unacceptable though, and left a super sour taste in my mouth. Why not simply spawn us right before the boss fight? Why put in extra effort to alter my save file so I cannot play on it anymore? It's a genuinely baffling game design decision.
That being said, if you like Metroid and it's on sale, give it a shot! It's short and sweet, and I think most Metroid fans can get a kick out of it.
Not allowing you to continue the save file to 100% the game is unacceptable though, and left a super sour taste in my mouth. Why not simply spawn us right before the boss fight? Why put in extra effort to alter my save file so I cannot play on it anymore? It's a genuinely baffling game design decision.
That being said, if you like Metroid and it's on sale, give it a shot! It's short and sweet, and I think most Metroid fans can get a kick out of it.
Some puzzles are really great, most are stupidly far-fetched or flat-out nonsensical. Additionally, the hint system often only tells you how to start a puzzle rather than solve it, which is completely pointless.
Also the poor performance and high gigabyte requirement for what amounts to a short and kind of ugly escape room makes me think this might be a bitcoin miner of some kind. There's better escape room-type games out there in any case, so don't waste your time with this one unless you really love the genre and need more immediately, I suppose.
Also the poor performance and high gigabyte requirement for what amounts to a short and kind of ugly escape room makes me think this might be a bitcoin miner of some kind. There's better escape room-type games out there in any case, so don't waste your time with this one unless you really love the genre and need more immediately, I suppose.
2020
The Arkham Origins of XCOM. The faster battles and preparation were a breath of fresh air, and I enjoyed making use of the different heroes a lot. It felt like I was jumping in and out of battles at incredible pace which was a nice change from the (sometimes overly) slow pace of XCOM 2, with a decent variety in team compositions I could bring.
Breach is an interesting mechanic, though I could take it or leave it honestly. I enjoyed the different factions a lot. I also genuinely believe that most of this game's negative reception came from people's expectation that this was XCOM 3, though I never felt like it was marketed that way personally.
My main complaint is that the story, art and characters are all on the weaker side (Axiom excluded!), ESPECIALLY if you compare it to enemy unknown or XCOM 2. Especially as a continuation of xcom 2's narrative it feels a bit unimportant? I suppose thats good in the grand scheme of things because of this game's (unwarranted) poor reception, but still. Clearly there was also a much smaller budget alotted to this project, evident in the re-used assets from XCOM 2 and the drawn cutscenes rather than the 3D cinematics in and Enemy Unknown and XCOM 2, which makes the end result being this solid and fun even more impressive to me.
That all being said, if you are into turn-based combat and/or XCOM I definitely think this is worth a play. But do read the steam page a bit more in-depth before you buy it expecting XCOM 2.5 or something: it's differences from the formula might be a huge turn off for you.
Breach is an interesting mechanic, though I could take it or leave it honestly. I enjoyed the different factions a lot. I also genuinely believe that most of this game's negative reception came from people's expectation that this was XCOM 3, though I never felt like it was marketed that way personally.
My main complaint is that the story, art and characters are all on the weaker side (Axiom excluded!), ESPECIALLY if you compare it to enemy unknown or XCOM 2. Especially as a continuation of xcom 2's narrative it feels a bit unimportant? I suppose thats good in the grand scheme of things because of this game's (unwarranted) poor reception, but still. Clearly there was also a much smaller budget alotted to this project, evident in the re-used assets from XCOM 2 and the drawn cutscenes rather than the 3D cinematics in and Enemy Unknown and XCOM 2, which makes the end result being this solid and fun even more impressive to me.
That all being said, if you are into turn-based combat and/or XCOM I definitely think this is worth a play. But do read the steam page a bit more in-depth before you buy it expecting XCOM 2.5 or something: it's differences from the formula might be a huge turn off for you.
2019
Close to the Sun is a very atmospheric and eerie journey for the first half, but its need to have a clear villain and monster take away from its scare factor and my interest in it. The last few chapters also suffer from some bugs and/or visibility issues that further impacted my (lessening) enjoyment. I would have much preferred the narative to be about regular people who turned insane after coming into contact with their future/past selves, or something along those lines. The "anomaly" just feels like a random addition because someone thought a horror game needed a mascot creature of some kind.
I'd say the first half is around a 7/10, but from the second half on (really starting from the introduction to the monster) it honestly feels more like a 6 or 5 out of ten. It is hard to be afraid of something as silly as a time-travel particle monster, especially when it looks as unconvincing as it does.
Also capitalist Nikola Tesla feels weird. Like I get this is an alternate universe earth, but really? The man who wanted to make electricity free actually became the richest man in the world and started creating superweapons! It just doesn't exactly work for me. Felt like this game was some kind of Edison propaganda for much of the first half lmao.
I'd say the first half is around a 7/10, but from the second half on (really starting from the introduction to the monster) it honestly feels more like a 6 or 5 out of ten. It is hard to be afraid of something as silly as a time-travel particle monster, especially when it looks as unconvincing as it does.
Also capitalist Nikola Tesla feels weird. Like I get this is an alternate universe earth, but really? The man who wanted to make electricity free actually became the richest man in the world and started creating superweapons! It just doesn't exactly work for me. Felt like this game was some kind of Edison propaganda for much of the first half lmao.
2022
Moonscars is a wonderful and challenging addition to the Metroidvania genre, though it does get a bit repetitive with the lack of enemy diversity near the end. A lot of criticism seems to be aimed at the difficulty, but I found it to be just right for me.
Visually there's some really gorgeous areas like the Depths, but admittedly most places kind of wash into each other (though I would not say they look unappealing). Compared to its contemporaries like Blasphemous, Hollow Knight or Ori and the Will of the Wisps, it just doesn't quite live up to their (consistent) beauty.
What it does have over most of these (except maybe Hollow Knight), is an incredibly satisfying combat system. Healing is quick and hitting enemies is rewarding. Spells are strong but there is still a clear incentive for parrying and stabbing. Special weapons (with the exception of 1 or 2) are incredibly fun and really mixed up my playstyle in small but meaningful ways. I was tense throughout most of my adventure, especially when under the effects of the starving moon, yet I did not die very often. This kept my engagement up throughout much of the game, though when I started encountering the same few enemy combinations repeatedly this feeling admittedly waned a bit. Additionally, the bossfights were all pretty fantastic. I especially love how they just throw you into the deep end immediately with the first boss.
The story was nothing to write home about, I'm kind of mixed on it similarly to Blasphemous' story. A lot of conversations that seem complex but its really just a lot of incomprehensible terms and ideas thrown at you to make it seem more deep than it really is. Unfortunately, this games' cast just isn't as intriguing as Blasphemous' was, so it feels even more noticable.
If this review seems overly negative for the score that I gave it, I really did not intend it to be so. It is honestly closer to 4.5 stars than 3.5. However, I do think there is a lot here that the developers could improve on for their sequel(s) to create a truly exceptional Metroidvania experience.
Visually there's some really gorgeous areas like the Depths, but admittedly most places kind of wash into each other (though I would not say they look unappealing). Compared to its contemporaries like Blasphemous, Hollow Knight or Ori and the Will of the Wisps, it just doesn't quite live up to their (consistent) beauty.
What it does have over most of these (except maybe Hollow Knight), is an incredibly satisfying combat system. Healing is quick and hitting enemies is rewarding. Spells are strong but there is still a clear incentive for parrying and stabbing. Special weapons (with the exception of 1 or 2) are incredibly fun and really mixed up my playstyle in small but meaningful ways. I was tense throughout most of my adventure, especially when under the effects of the starving moon, yet I did not die very often. This kept my engagement up throughout much of the game, though when I started encountering the same few enemy combinations repeatedly this feeling admittedly waned a bit. Additionally, the bossfights were all pretty fantastic. I especially love how they just throw you into the deep end immediately with the first boss.
The story was nothing to write home about, I'm kind of mixed on it similarly to Blasphemous' story. A lot of conversations that seem complex but its really just a lot of incomprehensible terms and ideas thrown at you to make it seem more deep than it really is. Unfortunately, this games' cast just isn't as intriguing as Blasphemous' was, so it feels even more noticable.
If this review seems overly negative for the score that I gave it, I really did not intend it to be so. It is honestly closer to 4.5 stars than 3.5. However, I do think there is a lot here that the developers could improve on for their sequel(s) to create a truly exceptional Metroidvania experience.
What an insane improvement over base XCOM 2 man. While I have grown a begrudging respect for that version after playing it on Rookie difficulty, I still heavily dislike how it plays on Veteran and above. However, War of the Chosen rectifies most of my major flaws. The new classes help combat the insane difficulty curve (particularly the early game) and are generally fun to mess around with. Using combat AP instead of chance for new soldier upgrades was ingenious, and some of the new story missions are dope as hell. Actually being able to play on Veteran mode without wanting to kill myself was a huge bonus as well.
Some minor criticism regarding this specific version of XCOM 2 is that the Lost (while incredibly cool in the first few encounters) can become a bit tedious in later missions, and I'm not sure if adding resistance members to Terror missions was the right call; they end up taking up a lot of time just to deal chip damage.
Some minor criticism regarding this specific version of XCOM 2 is that the Lost (while incredibly cool in the first few encounters) can become a bit tedious in later missions, and I'm not sure if adding resistance members to Terror missions was the right call; they end up taking up a lot of time just to deal chip damage.
Generally great Portal-like puzzle game. Surprisingly beautiful aesthetically for an older title. Story was unfortunately rather unsatisfying (the double fake out is a cute idea but it makes the climax rather unsatisfying. The entire story becomes a 'he said-she said' situation and it takes away from the mystery. However, you play these titles mainly for the puzzles, and ignoring some over-complex puzzles near the end it doesn't disappoint on that front.
If I had to rank the this along side the Portal games I think it would go something like:
4. Q.U.B.E: Director's Cut (7.5/10)
3. Portal Reloaded (8/10)
2. Portal 1 (8.5/10)
1. Portal 2 (10/10)
If I had to rank the this along side the Portal games I think it would go something like:
4. Q.U.B.E: Director's Cut (7.5/10)
3. Portal Reloaded (8/10)
2. Portal 1 (8.5/10)
1. Portal 2 (10/10)
2019
Ending B is kind of a middle finger to the player to the point where I don't particularly feel like 100%ing the game, but the 14 hours it took for me to get there were peak as hell. The atmosphere, boss fights, art and enemy design were all fantastic. Getting unfathomably skillchecked by the icy mountain until I finally conquered it and then being so strong I could sweep through the other two regions was a tremendous feeling. Though I wish some of the early game bosses were a bit more difficult, I generally think difficulty was handled wonderfully.
Normally when people complain about combat in a metroidvania like Ori and the Blind Forest and Haiku, The Robot I understand where they're coming from but I did not feel that way about Blasphemous. Really the only thing I actively dislike about this game (besides ending B) are the insta-kill hazards. Executes were a fun distraction too. Excited for Blasphemous II whenever I get around to it.
Normally when people complain about combat in a metroidvania like Ori and the Blind Forest and Haiku, The Robot I understand where they're coming from but I did not feel that way about Blasphemous. Really the only thing I actively dislike about this game (besides ending B) are the insta-kill hazards. Executes were a fun distraction too. Excited for Blasphemous II whenever I get around to it.
Hope people don't hate on this for not being a complete We Were Here experience, because for what it is this is cute and fun. Would like to see elements of this come back in more fully fledged titles, like optional puzzles with high scores giving you customization options or something like that.
2016
Hey, let's make a sequel to our beloved tactical game and only take its worst qualities and make them 10x more prevalent what could go wrong?
What finally pushed me to quit this game was having a soldier get panicked by a Sectoid, which caused him to run into the blast radius of a Codex explosion which promptly killed him without me being able to do anything about it. Bad enough already, but his death prompted two of my soldiers to start panicking as well, which made them run into random fucking directions and triggering the Viper King that was apparently just chilling on the backlines, who subsequently killed one of them and blocked my way to the timed objective. Fuck this game.
Maybe I'll come back for it one day but I got really fucking tired of EVERY shot being 50% accuracy at most, soldiers panicking after every little thing, enemies one shotting you starting from Veteran difficulty, enemies seeming to crit on every fucking shot, destroying cover being a must for every encounter if you want any chance at a sensible hit rate but then getting almost no tools to do so, enemies being spotted / revealing themselves and attacking on the same turn, enemy overwatch not popping up so randomly getting merc'd while repositioning, some green objectives being able to be completed after using all your turns and others not (making it a fucking guessing game), etc. etc.
XCOM 2 has the aesthethics of a great sequel but it plays like a downgrade to Enemy Unknown in nearly every way.
What finally pushed me to quit this game was having a soldier get panicked by a Sectoid, which caused him to run into the blast radius of a Codex explosion which promptly killed him without me being able to do anything about it. Bad enough already, but his death prompted two of my soldiers to start panicking as well, which made them run into random fucking directions and triggering the Viper King that was apparently just chilling on the backlines, who subsequently killed one of them and blocked my way to the timed objective. Fuck this game.
Maybe I'll come back for it one day but I got really fucking tired of EVERY shot being 50% accuracy at most, soldiers panicking after every little thing, enemies one shotting you starting from Veteran difficulty, enemies seeming to crit on every fucking shot, destroying cover being a must for every encounter if you want any chance at a sensible hit rate but then getting almost no tools to do so, enemies being spotted / revealing themselves and attacking on the same turn, enemy overwatch not popping up so randomly getting merc'd while repositioning, some green objectives being able to be completed after using all your turns and others not (making it a fucking guessing game), etc. etc.
XCOM 2 has the aesthethics of a great sequel but it plays like a downgrade to Enemy Unknown in nearly every way.
The fact that this was still around a 9.5/10 despite the Witcher burnout starting to kick in heavily for me goes to show how fantastic this DLC is. I do think I prefer Hearts of Stone as a story, but this was easily a better complete videogame experience on the whole.
The writing is phenomenal, and the characters are outstanding. I don't think they reach the emotional depth of an Olgeird von Everec, or are as engaging a villain as Gaunter O'Dimm, but the characters of Anna Henrietta and Regis provide great countering perspectives between which Geralt is torn. They also work as fun companions for their respective main story quests. I think particularly Regis is a standout character, and easily one of my favourites in the entire game. He enriches the themes of the world of the Witcher while providing genuine comedic chemistry with Geralt.
I don't particularly care for Sylvia Anna as a villain, but I can appreciate what she does for the themes of 'virtue' and loyalty in the story.
The fairytale aestethic of Toussaint is fantastic, and helps set it apart from the other areas in the Witcher 3. The fact that it is only "perfect" on the surface is ofcourse part of the message of the DLC, but still I find it hard not to be a little bit sad for the destruction that happens to it during Dettlaff's siege of the capitol.
The main questline is also some of the most engaging (main!) quests since the bloody baron questline from the base game, and you get to visit some wonderful setpieces and scenarios. Particularly the little things like Rapunzel tying a noose from her own hair is wonderfully morbid and tragic. Or using Aard to blow away the Three Little Piggies' brick house; its so simple yet clever.
I also very much appreciate the inclusion of mutations as a way to reward levelling up in the endgame, and being able to further my build after I felt I pretty much plateaued in power level since I hit level 30, almost 30-40 hours back.
Also the Skellige gwent deck is sick and nasty GRAAAH!! (I'm simply not going to question why people can just make their own cards and factions and others just have to accept it, but Skellige genuinely feels overtuned compared to the other factions lol).
There's probably a bunch I could still talk about like the various endings and their implications, or how the DLC deconstructs knighthood, but it's already plenty long. I'll leave that to any of the countless youtubers who I'm sure have made hour long essays about it. I adored the Witcher 3, but I'm going to need a break from it for a while. Time to finish Metroid Prime finally, it's been on the backburner long enough because of this unique, beautiful mess of a game.
The writing is phenomenal, and the characters are outstanding. I don't think they reach the emotional depth of an Olgeird von Everec, or are as engaging a villain as Gaunter O'Dimm, but the characters of Anna Henrietta and Regis provide great countering perspectives between which Geralt is torn. They also work as fun companions for their respective main story quests. I think particularly Regis is a standout character, and easily one of my favourites in the entire game. He enriches the themes of the world of the Witcher while providing genuine comedic chemistry with Geralt.
I don't particularly care for Sylvia Anna as a villain, but I can appreciate what she does for the themes of 'virtue' and loyalty in the story.
The fairytale aestethic of Toussaint is fantastic, and helps set it apart from the other areas in the Witcher 3. The fact that it is only "perfect" on the surface is ofcourse part of the message of the DLC, but still I find it hard not to be a little bit sad for the destruction that happens to it during Dettlaff's siege of the capitol.
The main questline is also some of the most engaging (main!) quests since the bloody baron questline from the base game, and you get to visit some wonderful setpieces and scenarios. Particularly the little things like Rapunzel tying a noose from her own hair is wonderfully morbid and tragic. Or using Aard to blow away the Three Little Piggies' brick house; its so simple yet clever.
I also very much appreciate the inclusion of mutations as a way to reward levelling up in the endgame, and being able to further my build after I felt I pretty much plateaued in power level since I hit level 30, almost 30-40 hours back.
Also the Skellige gwent deck is sick and nasty GRAAAH!! (I'm simply not going to question why people can just make their own cards and factions and others just have to accept it, but Skellige genuinely feels overtuned compared to the other factions lol).
There's probably a bunch I could still talk about like the various endings and their implications, or how the DLC deconstructs knighthood, but it's already plenty long. I'll leave that to any of the countless youtubers who I'm sure have made hour long essays about it. I adored the Witcher 3, but I'm going to need a break from it for a while. Time to finish Metroid Prime finally, it's been on the backburner long enough because of this unique, beautiful mess of a game.
2013
"We have enough food to last us for a short while at least."
me staring at the 35 containers of juice left: Yeah okay
me staring at the 35 containers of juice left: Yeah okay
A truly fantastic storyline, that is unfortunately held back ever so slightly by the lacking gameplay.
Regarding the story: It is quite small scale and simple: Down on his luck, a man strikes a deal with a demon to turn his life back around, with terrible consequences. But it is the characters that really deserve a spotlight here.
O'Dimm is a fantastic threat, imposing and odd immediately from his (re-)introduction. A Faustian Devil was a great choice for a smaller scale villain, and his nickname has a great payoff at the end with the riddle.
Olgeird and Vlodimir von Everec are both scumbags who somehow win you over by the end of their stories, making it easy to see how they got that cultlike following off theirs. Particularly Olgeird shines as the emotional pillar on which the DLC rests: As you learn more and more about the specifics of his situations, the tragedy of his existance becomes ever more clear. The Witcher 3 gets praised a lot for it's grey morality, and I think Olgierd is an exeptional example of that. Even after I restored his heart, does that truly forgive everything he put his family and victims through? I don't think it does, yet saving his soul still feels like the right choice; only with his soul rescued (both literally and metaphorically, i see what you did there CD Projekt Red) can he start to atone for what he has done.
Shani, making her return from The Witcher 1, is a great sidekick for the adventure. Her upbeat and fun personality brings out a warmer side of Geralt, much like Triss does in the base game. There is a clear love for each other, but also an understanding that their livestyles are completely incompatible, which pervades their romance. That it eventually leads nowhere is almost certain from the start, yet still it is saddening when it happens.
Then there's the little clever touches, like reusing the spider model for the fiends during the 'Scenes from a Marriage' quest which I normally would consider lazy, but works here as a representation of Iris' fears, because she mentions to Ogeird that they cannot go into the house until they've gotten rid of all the spiders (because she is afraid of them). The same can unfortunately not be said about the reusage of gargoyle and elemental models for the fiends in O'Dimm's nightmare sequence, which I cannot see any particular reason for reusing other than seeming demonlike and laziness on CD Projekt Red's part.
Regarding gameplay: There's really only a few mediocre bosses (loved the frog though!) and the rest is just running around. This DLC felt more like a ten hour movie rather than a videogame at some points, which made the dialogue rather exhaustive at times. The final riddle's conclusion was cool, but I spent a long time trying to find the mirror and water despite already knowing the answer ('reflection') from the start, which lead to a bit of dissonance between my experience and Geralt's. To then die near the end because I did not realise I had to turn on witcher senses to find a breakable wall caused some unnessecary frustration right at the end, dampening the impact of the conclusion. But this experience was personal and might be completely different for others. However, the fact that Olgeird's final conversation with Geralt still made me feel fulfilled despite that, goes to show the writing talent behind this game.
I have little to complain about here, a fantastic DLC all around. I just wish there was more interesting gameplay to break up the dialogue sections, but this storyline and its characters will most likely stay with me for a long time, aiding me in writing my own stuff as a great example of how to write complex and/or engaging characters within a simple narrative.
Oh! And the expansion gave me some great Gwent cards for my Scoia'tael deck too, so that's really the biggest win here.
Regarding the story: It is quite small scale and simple: Down on his luck, a man strikes a deal with a demon to turn his life back around, with terrible consequences. But it is the characters that really deserve a spotlight here.
O'Dimm is a fantastic threat, imposing and odd immediately from his (re-)introduction. A Faustian Devil was a great choice for a smaller scale villain, and his nickname has a great payoff at the end with the riddle.
Olgeird and Vlodimir von Everec are both scumbags who somehow win you over by the end of their stories, making it easy to see how they got that cultlike following off theirs. Particularly Olgeird shines as the emotional pillar on which the DLC rests: As you learn more and more about the specifics of his situations, the tragedy of his existance becomes ever more clear. The Witcher 3 gets praised a lot for it's grey morality, and I think Olgierd is an exeptional example of that. Even after I restored his heart, does that truly forgive everything he put his family and victims through? I don't think it does, yet saving his soul still feels like the right choice; only with his soul rescued (both literally and metaphorically, i see what you did there CD Projekt Red) can he start to atone for what he has done.
Shani, making her return from The Witcher 1, is a great sidekick for the adventure. Her upbeat and fun personality brings out a warmer side of Geralt, much like Triss does in the base game. There is a clear love for each other, but also an understanding that their livestyles are completely incompatible, which pervades their romance. That it eventually leads nowhere is almost certain from the start, yet still it is saddening when it happens.
Then there's the little clever touches, like reusing the spider model for the fiends during the 'Scenes from a Marriage' quest which I normally would consider lazy, but works here as a representation of Iris' fears, because she mentions to Ogeird that they cannot go into the house until they've gotten rid of all the spiders (because she is afraid of them). The same can unfortunately not be said about the reusage of gargoyle and elemental models for the fiends in O'Dimm's nightmare sequence, which I cannot see any particular reason for reusing other than seeming demonlike and laziness on CD Projekt Red's part.
Regarding gameplay: There's really only a few mediocre bosses (loved the frog though!) and the rest is just running around. This DLC felt more like a ten hour movie rather than a videogame at some points, which made the dialogue rather exhaustive at times. The final riddle's conclusion was cool, but I spent a long time trying to find the mirror and water despite already knowing the answer ('reflection') from the start, which lead to a bit of dissonance between my experience and Geralt's. To then die near the end because I did not realise I had to turn on witcher senses to find a breakable wall caused some unnessecary frustration right at the end, dampening the impact of the conclusion. But this experience was personal and might be completely different for others. However, the fact that Olgeird's final conversation with Geralt still made me feel fulfilled despite that, goes to show the writing talent behind this game.
I have little to complain about here, a fantastic DLC all around. I just wish there was more interesting gameplay to break up the dialogue sections, but this storyline and its characters will most likely stay with me for a long time, aiding me in writing my own stuff as a great example of how to write complex and/or engaging characters within a simple narrative.
Oh! And the expansion gave me some great Gwent cards for my Scoia'tael deck too, so that's really the biggest win here.