Enjoyment - 5/10
Difficulty - 3/10

Very short campaign. Originally DLC, this was made as a standalone game to promote the upcoming release of Tiny Tina's Wonderlands. Thematically, it is Borderlands DnD. Very grindy to get to max level. There is legitimately no point to get max level except for the trophy, making the whole achievement journey a bit redundant.
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I have every Borderlands game but guess who comes back to this gem?
This is the OG Borderlands with BL2 being the peak. Other games are just made by otherworldly people who doesn't understand what basic BL fans basically want.
It was fun, with it's humor, gameplay, references and easter eggs. Even after all those years, it still holds up. I have the urge and passion to 100% this game and it's DLCs.
Hearing Tannis go insane over time was fun. And I liked the reference to Diablo 2 with the Rakkinishu boss.

I guess this GOTY Enhanced version are made by the same people who made the other modern garbages as this game has been worked on more than a few times and still has memory leak which forces you to restart the game as you will be getting 3 FPS. Also the dialogues are bugged and sometimes they won't play which causes you to miss out on the story and the missions (where claptrap informs you that there are new missions at a person/bounty board)
And the best bug yet! Clipping out the map and falling to your demise and you don't even respawn until you restart your save.

I played BL1 and BL2 with passion but the other games just sucked the passion and soul out of me just like those dementors from Harry Potter.
I have no hope for the future of this franchise and the upcoming movie.
Thanks a lot for where you've taken this franchise, Randy Pitchford.

Incrivelmente interessante pra um gênero que eu não gosto. A habilidade de se movimentar, girar rapidamente para o inimigo e ficar parado no ar ao invés de estar sempre em trilhos tornam o jogo mais dinâmico e mais rico.

Ele consegue dar uma sensação de vôo livre em alguns momentos, apesar de ainda ter sua progressão em trilhos.

A trilha sonora também é excelente, e os valores de produção impressionantes. Há cenas em FMV com atores reais alterados por CGI misturados com efeitos práticos e figurino próprio que são de alta qualidade.

Não esperava me divertir tanto (enquanto durou).

a game that feels severely less than the sum of its parts.

it's strange that i would feel this way about any game - games more often than not than any other piece of media are able to have fundamental flaws looked over because of how easily enjoyment can be gauged from just one aspect of the experience. whether this be the story, the gameplay loop, atmosphere, sound, or rewarding progression, it's of no surprise to anyone on this website that bloodborne excels at all of these individually.

with all of that being said, this game strangely fails to evoke any emotion from me at all. as well thought out a lot of the lovecraftian, gothic, and victorian horror ideas are to diversify the setting from prior fromsoftware games, i think this is hidetaka miyazaki's most lacking project as director to an abnormally strong degree.

i certainly wouldn't have felt this way at the start of my first playthrough. central yharnam as an introductory point is gorgeously realised and dense with captivating level design scenarios that provoke unique ways of thinking for any player regardless of their experience in the genre. this catalyst of engaging design also seamlessly allures the player to the game's subtle yet ultimately impactful slices of lore and rewards heavily in added emotional stakes for those who put in the effort to piece it together. this is capped off by two of the best initial boss encounters fromsoftware had created to that point - although i think it's been surpassed since within elden ring's opening hours, i am fully supportive in commending the opening of this game as one of the finest ways the medium has been utilised to immerse and appeal to players of any kind heading into it.

i cannot say this about the rest of the game. what followed from central yharnam felt like a shallow evolution of ideas and design that feels so intent on delivering a worldly counterpart to its small lore elements that i genuinely believe a better game could have been constructed without them.

i understand this is a confusing perspective but i'd want to justify this in probably the most understandable way first to anyone reading, i promise there's a cohesive point behind this. blood vials for example - wonderfully thought out, an idea of a healing mechanic completely in tone with the body horror elements of the game and a constant representation to the player of the negative to positive dichotomy blood holds in the lore. does this make for a better gameplay loop synonymous with the design though? absolutely not. it's ridiculous grinding for consumable healing was revisited after the initial stint with demons souls when estus flasks completely mitigated this design choice 4 years prior when dark souls was released.

odd yet understandable choices like these are at the heart of why this game fails to deliver as a project for me. the beast bosses are thematically and sonically excellent but suffer from all having the same move set because of their similarity and relation in the lore. the hunter bosses are a mechanically refreshing change of pace and encourage an aggressive style of play unlike any souls game before it but lack visual diversity or any genuinely engaging red herrings to their fights because of the lore. worst of all, the level design post central yharnam is for lack of a better word, uninteresting, to fit the condensed locale of the lore. not to be confused with underbaked, because i do believe the vision to create this world was achieved and delivered on an exceptional front to most players. however, a baffling lack of enemy variety, a weirdly intense focus on verticality and platforming, and the visual setpieces being compromised to the point of just being a different light filter because of the ps4's limited technology subverted what should have been immersive worldbuilding to me than little more than tedium. sometimes i'd find this tedium was occasionally broken up by the sudden thrill of an enemy standing by in the dark and a gatling gun positioned at you which was devastating for all the right reasons on my first encounter with them. in the 2nd half of the game these cheap jumpscare thrills exist in every room you explore and are never once implemented again in a different way.

but a lot of these viewpoints are overly sentimental and critical of the game in relation to its reception, especially when a lot of my favourite games are just as guilty of feeding the same gameplay encounters wrapped up in a slightly different visual package to you. what is the real loose end from this game that makes the various painstakingly crafted facets of this experience completely fall apart for me?

i don't like london :(

it's no red dead redemption 2, but few games are. this is still a lot of fun, and a great little game to have on switch. honestly this feels like what a handheld version of red dead 2 would be like.

everything is scaled back here. all the pros and the cons. makes for a much more agreeable, but ultimately less ambitious game. story was still the highlight, but was more of a great videogame story than the industry leading work of it's sequel. also did not really care for much outside of the main story. can't say why tbh.

ultimately, riding around sun&kissed vistas on horseback and shooting people is just fun, and this will always be true. thus this game is fun. thank god they gave this concept a second go in the sequel. so many of these good ideas become great ones when rockstar gives them a good refinement.

also runs incredibly on switch. honestly among the console's best looking games which is kinda sad.