a deeply upsetting experience. perfectly captures the feeling of bitter nostalgia - reminiscing over awful times. there are stories in this that are so beautiful it's absolutely insane.

could easily see this in 5 stars but i'm not sure how i feel about the way this game treats death. the core message feels like it's about accepting death, but it falls into a kinda common trope i see where the deaths are pointless and preventable. this isn't a huge fault but it does make me like the game a bit less. high recommendation though.

If you've ever been a depressed and aimless 20 year old overwhelmed by a life that isn't what you expected or wanted, you can probably relate to Mae Borowski.

I have a fondness for the idea of games that are more like places where you can hang out (I think it’s Animal Crossing’s best idea), and this game feels that way. The town of Possum Springs feels genuinely inhabited, and Mae's relationships to her friends feel as real, loving, difficult and damaged as real friendships are. The writing deftly handles the way that relationships drift and decay and can never return to what they were, but importantly, they retain the potential to blossom in different and possibly better ways. People can’t stay the same forever, so it’s nearly impossible for their relationships to.

One thing I love about this game is how gently and unexpectedly it approaches difficult subjects. It's a game about decay and loss, but it's just as much a game about hope and community. Ultimately it's about the necessity of hope and community in the face of despair, anxiety, fear, and a world that often seems terminally ill. It's also one of the only games I know of that's overtly about the damage caused by capitalism, the way it makes everything homogenous as it crushes individuals under its heel. The nihilism of capitalism has infected the town, as it infects everywhere, and the environment it creates affects everyone in one way or another.

But, also, the strengths of Night in the Woods don't stop at the narrative. Just in terms of play, this game is really fun! So many things are satisfyingly interactive. Leaves blow in your path as you frolic in autumnal delight. Telephone wires bow and twang in an incredibly pleasing manner as you balance upon them in the fresh morning air. You can jump up and down on your neighbor's car for no reason, and you’ll want to, because everything in this game feels so good. There are fun little minigames about moving furniture or smashing light bulbs or looking at stars with a cool old dude or hanging out with your mom. I’d also be remiss not to mention it’s the funniest game I’ve played other than Butterfly Soup. Night in the Woods proves that a charming and generous sense of play is no less engaging than dense mechanics.

This is a game I fully expect to return to occasionally for the rest of my life.

an appalling, self-righteous, insecure act of apologia for a generation of emotionally distant fathers that characterises motherly love and affection as smothering, manipulative, and toxic, whilst characterising casual emotional neglect and abuse as Good, Actually.

god of war 4 is just as sexist as the earlier games in the series, it's just more crypto about it, and the vast swathes of people taken in by this completely surface-level nuance baffles me to a degree not seen since DmC: Devil May Cry was hailed as the "more mature" reboot that series needed despite the existence of a literal sniper-rifle abortion scene and the fact that every single female character in it was called "whore" ad nauseum.

the "one take" gimmick is just that: a total gimmick, adding absolutely nothing to the story and in many ways detracting from it. the staccato nature of this journey, of going up and down the same mountain and teleporting all over the place is only made more absurd by the camera framing this as an uninterrupted trek which it clearly is not.

also it plays like ass and you fight the same boss twenty times. i hope you like that animation of kratos slamming a big pillar down on an ogre because you're going to see it an awful lot.

EDIT: removed a shitty joke.

There is something deeply ridiculous about Gamers™ complaining endlessly about games that are not action-orientated ("walking simulators" etc etc), whilst a game like this gets away with pushing all the most exciting and intense moments of action into cutscenes whilst the fighting you get to actually engage in is largely the repetitive, in between grunt-work. The game thinks having a bunch of quick-time events included will make up for this but being forced to constantly be alert for button symbols appearing on the screen rather than getting to enjoy the show is somehow even less immersive.

This kind of style-over-substance approach echoes throughout the whole game. The myriad climbing sequences feel oddly emblematic for this; nothing can actually go wrong in them meaning that despite the perilous context for them (clinging to the side of mountains and buildings by just your hands, leaping great distances from one to the next) there's never any reason to feel any actual tension or danger, it's just meant to look flashy and plays out closer to an interactive cutscene than actual gameplay. The single-shot gimmick is another great example, there's no narrative or thematic reason for it, it leads to the camera feeling needlessly claustrophobic a large amount of the time, but it looks impressive and that's apparently all that matters.

The combat is largely tedious. The occasional moments of excitement from the first few hours largely dissipated as the game made me fight the same collection of enemies, and the same troll and ogre mini-bosses, over and over right up until the end of the game. This overuse of the same enemy designs starts to feel even more grating considering the game's habit of cramming in additional fights wherever it possibly can, even when it doesn't make narrative or tonal sense, out of fear that if you go more than five minutes without attacking something you might get bored. The two modes for most of your fighting, beyond special attacks that leave you invulnerable or near-invulnerable for their duration thus draining tension from what's happening, are either keeping your distance and using projectiles whilst your son Atreus keeps the enemies distracted (which is both painfully slow at times, whilst also just feeling bizarre because Atreus is with seldom exceptions actually invulnerable to damage in combat), or getting in close and mindlessly button mashing until the enemies roll over and die (which is just boring). There are lots of fancy additional close-combat moves you can use but the game never really gives you the motivation to learn them, so it largely ends up being just this for the entire playthrough, as you fight the exact same enemies fifteen hours deep that you were fighting at the start of the game.

There are many ways to make the combat not get quite so tedious by the end, but the simplest one is to just have the game be more compact and streamlined, yet all throughout the game instead pushes to be larger, more expansive, with as many features as it can fit in. People like rpg systems, so why not cram in gear crafting and upgrading and all sorts of different enchantment systems? Never mind that it never makes the combat feel like it plays any differently, or that the best approach to these needless sprawling menus is to just use the things that have the biggest numbers. People like open world games, so why not do that too? But God of War's notion of exploration is mostly just wandering around the lake in a circle, ticking off locations one by one. The game also just features countless collectables, all kept track of in the map screen, as if you can't include anything within a game without it making some resultant number go up.

God of War had a surprising amount of narrative focus, and there's some genuinely cool moments. I enjoyed a bunch of the early-game content surrounding Freya, Baldur is compelling right until the game just forgets he exists for the vast majority of its story, and there's some potentially really interesting stuff in here about familial trauma, abuse and neglect that the game doesn't come close to having anything impactful or coherent to say about in the end. This is its whole own problem as hinting at Kratos's abuse and neglect towards his son (and never even confronting that in any sort of meaningful fashion) clashes pretty harshly with framing him as someone whose every punch should be thrilling to us, in the same way that his talk towards the end of the game of stopping the cycles of violence clashes with the fact that all game long the finishing moves zoom in on every gorey detail, trying its best to make the tearing of flesh and sinew seem salacious. Even the framing for the story is off here, and downright enraging; every single time you're sent to one corner of the world to see a character who can supposedly help you on your quest you can bet they'll be ready to retort that sure they can help you but first you need some obscure item from some other corner of the world. The story is never allowed to flow, always nestled between countless fetch quests, and sometimes fetch quests within fetch quests.

By the half-way point I was extremely ready for this game to be over, but I kept persevering due to some combination of sunk-cost fallacy, a curiosity to see where the story would head, and irritation that the game seems near universally acclaimed. God of War is certainly very pretty, but there's so little of worth here beyond that.