I fucking love this game so much. It's the game that saved resident evil and each time I replay it I just appreciate that even more. Re7 is an absolutely perfect game.

For a start the music is phenomenal, it does an amazing job at getting a response from the player whether that's Fear, sadness, or curiosity. Also the gameplay in biohazard is top notch, it is fun throughout. This is largely due to its fun and innovative puzzles, great gunplay, and horror elements.

For me at least the worst part about re7 is the Mia portion on the ship. Now this is by no means a bad portion it's just slightly tedious at times with you having to go up and down all the time. Another fantastic portion of this game is the story, in my opinion it is one of the best in the series, while it loses me a bit at the end due to its more actiony supernatural elements it still makes for a fun time.

I think one of the main reasons for this is the games antagonists for a good chunk of the runtime, the Baker family. They get introduced first at the dinner table scene, showing their dynamics with one another and being a family were the player can already tell something is wrong with them. It's by the end of the game that you realise that the bakers were kind people until they were infected by eveline. Which makes them much more compelling 'villians' then Mr X or Nemisis because they aren't evil tyrants created in some lab, they are just a normal family who's minds have been corrupted inadvertently by their kindness.

I could ramble on for ages about this game but in short, it's a terrific game that is a good entry point for new fans whilst reviving the series for the old fans. I can not recommend this game enough, if you haven't played it already what the hell have you been doing for the past 7 years! (Side note: how the hell was 2017 seven years ago)

Why yes, I know of A Hat in Time, also known as the second-best Hat based 3D platformer released on October of 2017 ever made!

In spite of my repeated claims of love towards the 3D platforming genre, I would lie if I said I played every single one of the so called classics—I’ve yet to touch a single one released on the PSX that isn’t Medievil and play any of the 3D Rayman games—, but beyond that lack of experience with older titles on my end, the main reason I haven’t actually sat down and played more regularly newly released 3D platformers is because… there aren’t many to choose from. It's a game landscape somewhat rejected by most bigger studios, which tend to see the concept of platforming in a 3D space the concept or base for a bigger game in another genre rather that it’s own, and at this point, it has become somewhat of a special occurrence when two major titles of the genre release withing the same yea, hell, we are already lucky if at least one does.

With all that said, it’d be impossible to categorize the genre as as ‘’dead’’, not by a long shot; the indie scene is doing gods-work for that to be a remote possibility, and now-a-days, I kinda associate it with that scene, not that I think of it as a smaller or more niche genre than what it once was, on contraire, it’s a vibrant, more personal and passionate landscape, the ‘’people’s games’’ so to speak, and I think that particular spark that each developer both what makes so many people feel like they are gambling

A Hat in Time released on a very interesting year for the genre, not necessarily the best or worst, but it certainly had variety, with released from big publishers and small teams, of majestic quality and of pretty big disappointments, and it’s in this year which was probably the most full the genre ever had during the past decade, in the month where the band new 3D Mario game released, it’s where despite it all, A Hat in Time shines.

I can’t really tell what the game is going for exactly visually and tonally, but whatever it is, keep it coming ‘cause it works. If I had to compare it to something, I guess the best thing would be the sometimes referred as ‘’double A’’ games of the sixth and seventh generation. Those character models than can look rough and sometimes even clipping into each other but are so cartoony and full of life that is more than worth it, that humor that should tonally clash with the cutesy vibe but instead it works to a tea, the incredibly silly storyline that finds ways to be memorable… It’s not the prettiest nor the the funniest game out there, but it still exceeds at those areas, with some parts and scenarios looking kind of beautiful or selling completely the spooky or silly vibe, and with jokes that in any other context would make you wonder ‘’how did they get away with this?’’ with how deranged and good they can get.

It can sometimes feel all over the place, like pieces of different puzzles that somehow fit, which I’m inclined to believe it was intentional with how the rest of the is. There are four different worlds divided in four chapters, and when playing through ‘’Mafia Town’’—ignore for a moment that is quite possibly the singles best idea for a first world to ever be thought of— I thought I knew what this was going for, a Sungine/64 like game, with big open levels you can explore that change a little bit every time you go to a different mission, or ‘’act’’ as they are known in this game. And I mean, yeah, all worlds are divided into acts you must beat before facing the final boss of each world, and there are some extra challenges you can find that reward you with a Time Piece that are VERY Sunshine inspired with what quite possibly is one of the most relaxing tunes I’ve ever heard, but aside of that… you better be prepared from some chaos!

You got everything you could possibly dream of: two birds (one of whom may or may not be racist towards penguins) competing to get a movie award once again after years of rivalry and you being thrown into the mix to help both and give the victory to one of them, a spirit infested contract based spooky forest that has both one of the most intense moments I’ve lived in any 3D Platformer ever and a fight against a haunted toilet, and a free roam mountain top stage that is the only of its kind in the base game. There ain’t much consistency here, and that can actually work; it made each of this random ass places and these weird mafia mobs, birds, ghosts and goats that inhabit it all the more endearing. Everything that has to do with Snatcher or the Conductor and DJ Groove is gold I swear to god, their whole chapters being centered around them and the movie sets or deals they out Hat Kit through made them even more memorable than they would already have been… AND IF THAT WASN’T ENOUGH THEY GOT SICK AS HELL THEMES WOOOOOOOOOOOOOOO-

The music in this game also doesn’t make any sense, but not because it’s absurd or inconsistent, but because it’s too fire; it’s a constant blessing to the ears, with either bombastic and exhilarating themes or the most calming and fitting sounds to ever be thought while jumping and diving. I already linked two completely different yet amazing songs, and I could fill this review with even more, this is one of my favorite overall OSTs I’ve heard in a while, there’s a reason so many people use all the Chapter 2 songs to put in the background and Your Contract has Expired blew up years back, it’s too good to pass up.

The lands of A Hat in Time are plagued by charisma and charm, the only thing that would make them better would be being able to traverse th- OH WAIT YEAH! Hat Kid’s move set is actually pretty deceiving; it seems pretty in both theory and practice, it’s just a double jump, a dive and an attack button, but it actually that allow for super fluid and creative movement, and that make it even more rewarding to pull it off. Even when you are not tested with a mini challenge to earn an item or pons, it’s always a fun time to bring the movement to tis limits; you are almost invited to skip sections and reach certain parts in a way the game didn’t plan to, either through pure movement prowess or intelligent use of the hats (Fast hat and Fox-mask my beloveds…).

Getting any kind of reward, be it a Time Piece or something like a Badge or cosmetic change, feels fulfilling not only because the process of getting it is fun and unique, but also you most likely gained something else along the way, like reading a fun story as it unfolds… if that story had a bit of an annoying camera.

As much as I love how A Hat in Time nails the creativity and fun actor, there’s always a thing or two that puts a sour taste in my mouth. At best they are annoying decisions that really don’t make much sense, like blocking certain acts behind a pong-wall or making the grappling hook a badge instead of a direct upgrade, they both don’t seem like that big of a deals, but the former is incredibly inconsistent (and this time not a good way) and it only serves to take away your pongs at random intervals, which is something I simply do not understand when it’s limited to the first two chapters and when there’s already so many stuff to spend off and losing that money on something because the game said feels unwarranted; and the latter is… it’s just a bit dumb I think? The grappling hook becomes an integral part of your set once you get it, and practically all of the following challenges require you to use it or, at the very least, make traversal much more natural and fun, so from that point on you’ll essentially only have two badge slots since one will always be dedicated to it, and I personally think that incorporating to the roster of Hat Kid’s permanent tools would have made MUCH more sense.

But still, those things don’t necessarily worsen the experience… others very much do tho! You are never in full control of the camera, which is fine since it has clearly been thought out to work better in more open spaces and in those instances is buttery smooth, but then there are moments like Chapter 2’s Act 2, which is a super fun stealth mission focused on gathering clues while exploring a train, that I’s absolutely true, but is in those moments where the camera’s weaknesses shine bright, making it impossible to really know what’s ahead or even where you need to go, since your main hat will always point to your final current objective and nor the place you need to go first (which is another can of worms of its own), and moments like this are scattered through the game and make me wish they did something similar to how it is in Vanessa’s Manor or Chapter 4’s windmill. As it stands, is a looming annoyance that pops out here and there, just how the attacking dive can be a pain in the ass to know at which height you need to be for it to work, or how the checkpoint system can screw you off at a moment’s notice if you fall in the wrong place, or how the can get surprisingly buggy or sometimes say ‘’NO’’ to the strategy you wanted to do with random invisible walls, or how- I think I’m gonna leave it there to be honest…

It's a congregation of decisions and dumb mistakes that pile up and can sometimes make segments feel a lil’ bit like you are doing a to-do-list, which is funny ‘cause in Chapter 3 you do exactly that except it really doesn’t feel like it! It was during Subcon Forest that I begin to get suspicious but in Alpine Skyline I felt it was confirmed; most of these problems were most likely originated in early development, ‘cause A Hat in Time, even with this mistakes on its back, just keeps getting a better. Mafia Town is not a bad introduction and I do like it in some ways, but also presents some problems and structure the other chapters don’t have, like incredibly simplistic boss fights, having to repeat some sections or getting lost through the map to find sometimes, or secrets that aren’t that fun to get; it works but it’s hard not to look at it as the weakest of the bunch, and hell, I’d say the Mafia are funnier in the following chapters and on the ship than in their own town!

It's certainly a humble beginning, a charming onje no doubt, but one that pales in every department with what come next; Battle of the Birds is a super cool set of more linear challenges with and creative sets that gets brought down a bit by some strange decisions (needing to go Chapter 3 before being able to finish breaks the pace completely for me) and the fact that main point of the whole chapter doesn’t really play into much with the final fight except for some model swapping, which doesn’t change the fact that the Conductor/DJ Groove fight is incredible, I just wish it had a little bit more meaning beside DJ Groove getting too cocky or the Conductor being a petty bastard. Subcon Forest is where the true magic happens, the contract system doesn’t really play into much, but it justifies the act system way more, and the area itself hits the spot with its spooky looks as different sections, and has my two favorite fights in the entire game and my favorite level, so yeah, hard not to love it. And then… there’s Alpine Skyline, I’ll say right now that I thing its finale its pretty annoying and doesn’t really play into the potential of the area, but aside from that, this is the highest peak of the game for me, there’s no contest. Maybe I like too much this style of semi open world divided into more linear challenges, but I’m sorry, this area has it all; a killer setting and design, the most fun platforming obstacle courses in the game, a completely free roam experience that feels open even when you are following a set path, and the lighting system to mark you finished treasure hunting in a certain sections it’s a simple yet genius touch I wished other parts of the game had.

A Hat in Time is a testament to improvement, at how a game can get even better as it goes along and end on a higher note than it ended with, but even more than that… is an ode to fun. You can sit down in a ton of places just to admire the scenery, you can do certain emotes that don’t affect the game at all but are just fun to use, you can screw around the main space ship and find random secrets like Hat Kid’s hideout and learn about her thoughts after each completed act. Things that if they weren’t there I wouldn’t have complained, but now I can’t imagine the game without them, and it’s filled to the brim. It’s an experience made out of love that ‘s hidden even in the most obscure corner, a love visible even in he rougher edges, a love that’s shared by so, so many.

A Hat in Time is ‘’the people’s game’’, the workshop is put at the front of the main menu and mods and the community work are baked into the game itself, a celebrated effort that’s only there because the has managed to inspire even 6 years later, and I can sit all day and complain all I want, but that’s always gonna be there, and people finding ways to be in this crazy-ass mafia filled world just a little longer is wonderful to see, and understandable; A Hat in Time is charming, it’s fun, to point of being contagious, you could even say it made me feel the normal amount of empty inside, maybe even less.

It's a game that says ‘’Get lost!’’ to grumpiness, and I for one join it in its chant! I’ll be back real soon to seal more deals and explore the metro, that’s for sure, how could I say no to more of this kind of 3D platforming playfulness?

Space Zap is conceptually very simple, but it is also one of the most viscerally satisfying arcade games I've played. You control a space station in the center of the screen, and have to angle a turret to defend yourself from enemy ships and their artillery. This game gets fast quick— it won't be long before your run turns into DDR, and you'll soon be slamming buttons to the point of finding callouses on your hands. Space Zap's explosions are loud and crunchy, and whenever you lose a life a magnitude 8 earthquake occurs somewhere in the world. The cabinet I played on at Galloping Ghost had all too visible burn in wherever flashing lights were prone to happen onscreen. Incredibly charming, do yourself the favor of playing it if you're ever blessed to find a machine.

Jogo super divertido! Por mais que tenha um fator de repetição bem visível e muita gente não goste da história se for comparar com os outros, pra uma primeira vez zerando, eu adorei. A interface é bem simples de entender, o jogo normalmente não faz os puzzles serem muito complexos, apenas raciocínio lógico e prestar atenção já são o suficientes, o que é bom porque eu sou burro pra crl. Eu amei a ambientação, achei os gráficos lindíssimos e a floresta é muito colorida e bonita. Gostei bastante dos personagens, especialmente o Sully, achei ele bem carismático. Ótimo jogo, recomendo.

Running with Scissors tries its hand at a linear campaign. I suppose I shouldn't be too surprised to see a cheap DLC add-on take a more focused, directed approach like this, but all it really does is highlight how Postal 2's combat and level-design wasn't made for or suit that kind of structure. With the open-world having been completely stripped away you're funneled into a string of segments that either have you blasting your way through corridor-shooter levels or killing X number of something (usually animals or zombies) before being able to move on. While the former is definitely more entertaining than the latter, neither are particularly fun or exciting. When the content isn't outright dull it's frustrating instead, shining a big ol' spotlight on the inconsistencies in weapon damage and enemy power. Why is it I can take out the little demon Gary Colemans faster by throwing scissors at them than using an automatic machine gun?

This change in format also forces RWS to engage in a larger amount of scripted storytelling, set pieces, and concocting of their own jokes. Most of my chuckles in the main offering came from however I chose to amuse myself with the tools I had at my disposal. Without the same range of freedom and flexibility at your fingertips here though, they're left trying to mine laughter from the stuff going down in the cutscenes, and let me tell you none of it is terribly funny. A lot of the material is recycled gags (Haha, terrorists and protestors! Satire! LOL!) and gratuitous profanity usage, so I guess I'm expected to be rolling on the floor over how much more absurd and over-the-top everything is now. This expansion marks the point where the franchise first made a heavy push into the hyper-ridiculous territory that would more or less define the property moving forward. I may not be guffawing, but we do get a few noteworthy qualities out of it. Primarily the Dude's hallucination sequences where his prior head trauma causes him to slip into a nightmarish version of reality, which I think might be the devs poking fun at Silent Hill. Whatever the case, it shows the studio has the potential to create a strong horror title visually should they ever decide to step back from the Postal brand for a second.

It's a shame this isn't better, because it's actually a big part of the property's history and lore, making it kind of essential to get the full picture. Apocalypse Weekend​ played a huge role in shaping the tone of the series and is also the source of that "pigeon mission" meme the fanbase constantly references (for some reason). Unfortunately, it feels about the same as your average crappy, low-budget 2000s era indie FPS. The particular weak points being an overly long and difficult escape from a U.S. military prison/nuclear silo that requires quite a bit of save scumming and one of the most dreadfully loathsome final bosses I've ever faced. I also experienced multiple crashes to desktop, which never happened to me during my playthrough of the base game. Oh well, at least when I exit to the main menu there's a sexy chick in a thong there now. So that's nice.

4/10