xdrejx
11 reviews liked by xdrejx
Persona 5 Royal
2019
the eminem of jrpgs
Near the top of my list of most overrated games of all time. Traversal felt like a chore and the gameplay/combat was not interesting enough to keep me invested. I've tried 3 different times to play this game and I just can't stomach it.
Prey
2017
Well, mathematically speaking, it's just as good as McDonald's Treasure Land Adventure.
I didn't give Prey a fair shot back when it released. 2017 feels much further away than it actually is, so I can't explain exactly what had me so distracted that I couldn't invest myself in "the best immersive sim of all time," but those opening few hours didn't hold me. I found myself meandering around and bounced off right around the point where you do your first spacewalk.
But here's the thing, if you're friends with Larry Davis, you can't just be like "oh I didn't enjoy Prey." That doesn't fly. You'll start getting texts while you're out that are just pictures taken from inside your apartment, some of which show you sleeping. He lives halfway across the country, how did he get in there? When was he there? The only way to stop the threats is to acquiesce to his demands. Play Prey or else. I always negotiate with terrorists, I'm a huge coward.
And I'm glad I did, because Larry's right, this is (probably) the best immersive sim ever made. I do, however, have to dock points for not having any Art Bell, something Human Head's Prey has over Arkane's. I'm aware that these games are not related at all outside of a very ill-advised, corporate decision to cash in on Prey's red hot brand name, but the least they could've done is throw in a few Midnight in the Deserts as audio logs. Not a problem, I just played a few in the background while making my way through the wreckage of Talos 1, bashing Typhons with a gnarly looking wrench while listening to Art's guest drone on about collecting and selling Big Foot scat.
Art: When I was in high school I ate erasers. No erasers on my pencils. I guess you could call that a strange addiction. When I went to erase something, I'd just scratch through the paper. Mmm... Erasers. That flavor has faded as an adult.
Ah, the true Prey experience.
That omission aside, Prey checks all the right boxes for me. Talos 1 is a great setting populated by interesting characters and engaging side quests that command your attention from the mission at hand not because they supply you with a list of things to do, but because Arkane has crafted a world so interesting and so fun to occupy that you want to delve into every nook and cranny. I see a locked door and I find myself compelled to know what's inside, even though the last three rooms I busted into had like, a corpse with a single discarded lemon peel in their pocket. Why did they have that? Every body tells a story...
Some of those side quests are going to stick with me for a while, which is both a sign of solid character writing and good mission structure. The fake chef booby-trapping fabrication machines and entry ways after you let him go adds a fun twist to revisiting old locations and makes your revenge that much sweeter when you finally catch up to him, and it's hard to imagine what shape the end game would take if you ejected Professor Igwe from his derelict storage container and skipped his multi-part quest. Which, you know, I initially did because I wasn't patient enough to hear him out. It's fine, I had an autosave, Igwe is totally okay!
That's just the way I play these games, with a dozen backup saves so I can test the boundaries of every moral crisis my character finds themselves in. I'm the kind of dude who will release a Typhon halfway into an inmate's cell just to see what kind of reaction I can get while turning over the long-term consequences of pushing the big red button. Not enough mirror neurons in my head, that's my problem.
Early in the game, you're presented with a personality test, an ink blot, and several variations of the Trolley Problem. An excellent way to establish what Prey hopes to accomplish with the player long-term, as so much of the game is affected by the choices you make both on a macro and micro level. The ending you get is clearly delineated between one of two set paths, but how those play out on a more precise level is affected by the small choices you made along the way. Take that chef, for example. You did get your revenge, but what of his other victims? Did you help them? Did you even try to find them? And what of your brother, Alex? So much of what happens aboard Talos 1 is his fault, but does your love for him win out in the end? Can you condemn him to his fate, or will you spend 30 minutes trying to wrangle his limp body in zero-gravity because the game won't trip one of the god damn objectives, which are clearly bugged-- oh wait, shit... I put him in a grav lift and it snapped his neck. Problem solved.
One area where I deviated from my typical immersive sim habits was combat. I often build my characters around stealth and avoid direct confrontation, but the Typhon abilities you're given work so well in concert with your weapons that turning Morgan into a violent powerhouse felt much more satisfying. There are also a few "survival" modifiers you can toggle at the start of the game, and I went with allowing injuries and suit damage, but not weapon degradation, because weapon degradation always sucks and is not as fun as getting concussed and needing to take "brained pills."
These modifiers add an extra layer of tension to resource management, something you'll be doing a lot of as you lug around literal garbage in the hopes that you might be able to squeeze a few extra shotgun shells out of whatever hard drives and bananas you have on your person. Fabricators are far between in the early parts of the game, often requiring you to loop back to your office for resupplies, which is a smart way of teaching the player the ins-and-outs of the game's resource economy while drilling in how Talos 1 is interconnected.
Is Prey the best immersive sim ever? Look, it takes a very boring man to admit when he's wrong, but it may very well be. Everything from the setting and story, to combat and the larger ways in which the game questions the player's morality is fantastic. My only complaint outside of some technical issues like the aforementioned problem with tripping objectives and a few crashes/freezes on the Xbox version is that there's no Art Bell. A whole .5 off the top of the score, I'm afraid. What's that? Art Bell was dead at the time? Nonsense. If Arkane only opened up a time-traveler's line, they could've booked him. Not an excuse.
I didn't give Prey a fair shot back when it released. 2017 feels much further away than it actually is, so I can't explain exactly what had me so distracted that I couldn't invest myself in "the best immersive sim of all time," but those opening few hours didn't hold me. I found myself meandering around and bounced off right around the point where you do your first spacewalk.
But here's the thing, if you're friends with Larry Davis, you can't just be like "oh I didn't enjoy Prey." That doesn't fly. You'll start getting texts while you're out that are just pictures taken from inside your apartment, some of which show you sleeping. He lives halfway across the country, how did he get in there? When was he there? The only way to stop the threats is to acquiesce to his demands. Play Prey or else. I always negotiate with terrorists, I'm a huge coward.
And I'm glad I did, because Larry's right, this is (probably) the best immersive sim ever made. I do, however, have to dock points for not having any Art Bell, something Human Head's Prey has over Arkane's. I'm aware that these games are not related at all outside of a very ill-advised, corporate decision to cash in on Prey's red hot brand name, but the least they could've done is throw in a few Midnight in the Deserts as audio logs. Not a problem, I just played a few in the background while making my way through the wreckage of Talos 1, bashing Typhons with a gnarly looking wrench while listening to Art's guest drone on about collecting and selling Big Foot scat.
Art: When I was in high school I ate erasers. No erasers on my pencils. I guess you could call that a strange addiction. When I went to erase something, I'd just scratch through the paper. Mmm... Erasers. That flavor has faded as an adult.
Ah, the true Prey experience.
That omission aside, Prey checks all the right boxes for me. Talos 1 is a great setting populated by interesting characters and engaging side quests that command your attention from the mission at hand not because they supply you with a list of things to do, but because Arkane has crafted a world so interesting and so fun to occupy that you want to delve into every nook and cranny. I see a locked door and I find myself compelled to know what's inside, even though the last three rooms I busted into had like, a corpse with a single discarded lemon peel in their pocket. Why did they have that? Every body tells a story...
Some of those side quests are going to stick with me for a while, which is both a sign of solid character writing and good mission structure. The fake chef booby-trapping fabrication machines and entry ways after you let him go adds a fun twist to revisiting old locations and makes your revenge that much sweeter when you finally catch up to him, and it's hard to imagine what shape the end game would take if you ejected Professor Igwe from his derelict storage container and skipped his multi-part quest. Which, you know, I initially did because I wasn't patient enough to hear him out. It's fine, I had an autosave, Igwe is totally okay!
That's just the way I play these games, with a dozen backup saves so I can test the boundaries of every moral crisis my character finds themselves in. I'm the kind of dude who will release a Typhon halfway into an inmate's cell just to see what kind of reaction I can get while turning over the long-term consequences of pushing the big red button. Not enough mirror neurons in my head, that's my problem.
Early in the game, you're presented with a personality test, an ink blot, and several variations of the Trolley Problem. An excellent way to establish what Prey hopes to accomplish with the player long-term, as so much of the game is affected by the choices you make both on a macro and micro level. The ending you get is clearly delineated between one of two set paths, but how those play out on a more precise level is affected by the small choices you made along the way. Take that chef, for example. You did get your revenge, but what of his other victims? Did you help them? Did you even try to find them? And what of your brother, Alex? So much of what happens aboard Talos 1 is his fault, but does your love for him win out in the end? Can you condemn him to his fate, or will you spend 30 minutes trying to wrangle his limp body in zero-gravity because the game won't trip one of the god damn objectives, which are clearly bugged-- oh wait, shit... I put him in a grav lift and it snapped his neck. Problem solved.
One area where I deviated from my typical immersive sim habits was combat. I often build my characters around stealth and avoid direct confrontation, but the Typhon abilities you're given work so well in concert with your weapons that turning Morgan into a violent powerhouse felt much more satisfying. There are also a few "survival" modifiers you can toggle at the start of the game, and I went with allowing injuries and suit damage, but not weapon degradation, because weapon degradation always sucks and is not as fun as getting concussed and needing to take "brained pills."
These modifiers add an extra layer of tension to resource management, something you'll be doing a lot of as you lug around literal garbage in the hopes that you might be able to squeeze a few extra shotgun shells out of whatever hard drives and bananas you have on your person. Fabricators are far between in the early parts of the game, often requiring you to loop back to your office for resupplies, which is a smart way of teaching the player the ins-and-outs of the game's resource economy while drilling in how Talos 1 is interconnected.
Is Prey the best immersive sim ever? Look, it takes a very boring man to admit when he's wrong, but it may very well be. Everything from the setting and story, to combat and the larger ways in which the game questions the player's morality is fantastic. My only complaint outside of some technical issues like the aforementioned problem with tripping objectives and a few crashes/freezes on the Xbox version is that there's no Art Bell. A whole .5 off the top of the score, I'm afraid. What's that? Art Bell was dead at the time? Nonsense. If Arkane only opened up a time-traveler's line, they could've booked him. Not an excuse.
(Third Playthrough)
...April 30th?
Calling this work of art my favorite video game ever made doesn't do it justice. A lot of people say video games change their lives, but this game actually changed my life. This game isn't just my favorite video game ever, It's my favorite piece of art ever, It's my favorite piece of storytelling ever. It's been about 2 years since I played it for the first time and cemented it as my favorite. This game will always be the most personal piece of art ever created for me and I will continue to cherish this fantastic work of fiction for the rest of my life.
anyway im gonna go play as raiden in fortnite now
...April 30th?
Calling this work of art my favorite video game ever made doesn't do it justice. A lot of people say video games change their lives, but this game actually changed my life. This game isn't just my favorite video game ever, It's my favorite piece of art ever, It's my favorite piece of storytelling ever. It's been about 2 years since I played it for the first time and cemented it as my favorite. This game will always be the most personal piece of art ever created for me and I will continue to cherish this fantastic work of fiction for the rest of my life.
anyway im gonna go play as raiden in fortnite now
Fallout: New Vegas
2010
Feels like the most content dense rpg i've played ever its so cool and there's so many things i can do in so many different ways
Lies of P
2023
This review contains spoilers
Lies of P is a game about lying.
For a game that copies a lot of the most recognizable characteristics of From Software games, it still feels like a wholly original and unique game despite how many people write this game off as a ‘Bloodborne clone’. What I think Lies manages to do that other souls-likes fail at is advancing the design elements of From rather than simply siphoning their mechanics to influence how the player perceives the game: Pulse Cells are analogous to the Estus Flask, but also let you recharge your final Cell if you perform well enough in combat, opening up build options in whether you want to do more damage in this riskier state or simply want a faster charge rate. Legion Arms reflect a much more limited, less abusable version of Sekiro’s Shinobi Prosthetic, and Guard Regain’s compatibility with blocked damage places this game in an aggression range between DS3 and Bloodborne, with the parry-focused combat of Sekiro.
Because of these various yet closely associated influences, the game is almost like a perfect remix of the Fromsoft formula, allowing you to appreciate where certain ideas are pulled from before the game puts a new spin on them. I’m personally incredibly happy with the level design of this game, which feels like it draws most directly from Dark Souls II of all places, a risky choice considering the general attitude most people have towards that game. One of my biggest complaints with Dark Souls III is how that games’ level design very quickly abandons any aspect of interconnectivity or large-scale exploration that the first two games in the series allowed for in favor of an almost entirely linear experience that put its combat front and center, for better or worse. Lies of P manages to somehow have the best of both worlds, with incredibly engaging bosses that I always look forward to fighting and levels that don’t feel like straight lines with an absurd number of bonfires. Most levels here wrap around themselves in really impressive ways that allow for stargazers to be placed incredibly sparingly, a design choice I will always prefer to DS3’s more ‘theme-park’ approach to level progression.
Beyond the game’s astonishing level of mechanical cohesion (I haven’t even mentioned the Assembly system, which is honestly reason enough to play this game if you’re a fan of games with similar combat systems), the cohesion of this game’s story is criminally undervalued. I can’t really blame most people for not being able to take this game seriously for being a soulslike about… Pinnochio, especially when most of our internal perceptions of the character are either of the Disney version or the character in the Shrek movies. You’re just going to have to trust me when I say that this game is a very thought-out adaptation of the source material and doesn’t simply use the Pinocchio property as a shallow aesthetic stunt. Lies is a game that actually uses the property it’s adapting within the vehicle of it’s story, and I have an endless respect for this game in how much faith it has in its own concept. When asked “What makes someone human?” Carlo Collodi’s The Adventures of Pinnochio serials answers that it is our ability to help others and act for their sake that makes us human, as shown in Pinocchio’s transformation at the end of the story after months of studying, working hard and saving money to care for his sick father. Lies of P’s answer, is actually not very different: We’re human because we can choose to act, and by exercising our agency we help each other far more than we help only ourselves. The game’s Real Boy ending sees everyone in the hotel replaced with a puppet copy after being killed by the newly reborn, perfectly obedient Carlo, after. The game’s most ‘Pinocchio’ mechanic, Lying, even shows a refreshing amount of nuance and respect to human morality by never painting the choice to lie or not as a simple choice between ‘doing the right thing’ and ‘doing the wrong thing’. Many of the choices in this game feel like they lack a ‘right’ answer, but often I found that lying to most people was often a mercy that showcased how communication often has to fulfill an emotional need more than a logical one. That’s not to say that lying is always the new ‘right thing’ in this game; Although the best ending in the game requires you to express your humanity a lot (through lying, mostly), the game still has a couple lies that genuinely stumped me on whether I wanted to lie or not; Do you decipher Alidoro’s scroll and tell Eugenie’s brother is dead? Do you tell Venigni that your own father is responsible for the destruction of Krat? Do you admit to Arlecchino that you are, in fact, a murderer? I can’t begin to express how relieving it is that this game isn’t trying to lecture the player about honesty or morality, understanding that lying is both innately amoral and innately part of the human experience. Lying is a choice, and what is more human than the ability to make our own choices?
Lies of P is the most honest game I’ve played.
For a game that copies a lot of the most recognizable characteristics of From Software games, it still feels like a wholly original and unique game despite how many people write this game off as a ‘Bloodborne clone’. What I think Lies manages to do that other souls-likes fail at is advancing the design elements of From rather than simply siphoning their mechanics to influence how the player perceives the game: Pulse Cells are analogous to the Estus Flask, but also let you recharge your final Cell if you perform well enough in combat, opening up build options in whether you want to do more damage in this riskier state or simply want a faster charge rate. Legion Arms reflect a much more limited, less abusable version of Sekiro’s Shinobi Prosthetic, and Guard Regain’s compatibility with blocked damage places this game in an aggression range between DS3 and Bloodborne, with the parry-focused combat of Sekiro.
Because of these various yet closely associated influences, the game is almost like a perfect remix of the Fromsoft formula, allowing you to appreciate where certain ideas are pulled from before the game puts a new spin on them. I’m personally incredibly happy with the level design of this game, which feels like it draws most directly from Dark Souls II of all places, a risky choice considering the general attitude most people have towards that game. One of my biggest complaints with Dark Souls III is how that games’ level design very quickly abandons any aspect of interconnectivity or large-scale exploration that the first two games in the series allowed for in favor of an almost entirely linear experience that put its combat front and center, for better or worse. Lies of P manages to somehow have the best of both worlds, with incredibly engaging bosses that I always look forward to fighting and levels that don’t feel like straight lines with an absurd number of bonfires. Most levels here wrap around themselves in really impressive ways that allow for stargazers to be placed incredibly sparingly, a design choice I will always prefer to DS3’s more ‘theme-park’ approach to level progression.
Beyond the game’s astonishing level of mechanical cohesion (I haven’t even mentioned the Assembly system, which is honestly reason enough to play this game if you’re a fan of games with similar combat systems), the cohesion of this game’s story is criminally undervalued. I can’t really blame most people for not being able to take this game seriously for being a soulslike about… Pinnochio, especially when most of our internal perceptions of the character are either of the Disney version or the character in the Shrek movies. You’re just going to have to trust me when I say that this game is a very thought-out adaptation of the source material and doesn’t simply use the Pinocchio property as a shallow aesthetic stunt. Lies is a game that actually uses the property it’s adapting within the vehicle of it’s story, and I have an endless respect for this game in how much faith it has in its own concept. When asked “What makes someone human?” Carlo Collodi’s The Adventures of Pinnochio serials answers that it is our ability to help others and act for their sake that makes us human, as shown in Pinocchio’s transformation at the end of the story after months of studying, working hard and saving money to care for his sick father. Lies of P’s answer, is actually not very different: We’re human because we can choose to act, and by exercising our agency we help each other far more than we help only ourselves. The game’s Real Boy ending sees everyone in the hotel replaced with a puppet copy after being killed by the newly reborn, perfectly obedient Carlo, after. The game’s most ‘Pinocchio’ mechanic, Lying, even shows a refreshing amount of nuance and respect to human morality by never painting the choice to lie or not as a simple choice between ‘doing the right thing’ and ‘doing the wrong thing’. Many of the choices in this game feel like they lack a ‘right’ answer, but often I found that lying to most people was often a mercy that showcased how communication often has to fulfill an emotional need more than a logical one. That’s not to say that lying is always the new ‘right thing’ in this game; Although the best ending in the game requires you to express your humanity a lot (through lying, mostly), the game still has a couple lies that genuinely stumped me on whether I wanted to lie or not; Do you decipher Alidoro’s scroll and tell Eugenie’s brother is dead? Do you tell Venigni that your own father is responsible for the destruction of Krat? Do you admit to Arlecchino that you are, in fact, a murderer? I can’t begin to express how relieving it is that this game isn’t trying to lecture the player about honesty or morality, understanding that lying is both innately amoral and innately part of the human experience. Lying is a choice, and what is more human than the ability to make our own choices?
Lies of P is the most honest game I’ve played.
Loop Hero
2021
Loop Hero is my go-to example when I'm talking about video games as holistic pieces of art. The story, mechanics, music, art direction, and atmosphere all work synchronously to support the thesis of the piece. Whereas other games can have good stories and good mechanics, like Fallout New Vegas, or good stories at odds with their mechanics, like Ni No Kuni, Loop Hero's story is its mechanics and its mechanics are its story. The gameplay loop is integral to the narrative and this makes every system fully engaging because they all have narrative heft. As an idle game it may not be as as engaging or replayable as the best of the best, but it's definitely the best idle game and one of the most artistic games I've ever played. The protagonist should have been nb though...
Dragon's Dogma II
2024
Stuck with this slack-jawed pawn with bug eyes. There's literal stink lines trailing off of him and he keeps rubbing blood from his diseased gums on the dungeon walls.
For some reason the game runs at 20fps when he's around, please advise.
For some reason the game runs at 20fps when he's around, please advise.
the intro being a watered down halo CE knockoff put a bad taste in my mouth and made me think this was gonna suck, but honestly I loved this game. I think I like it more than fusion, although I think I like fusion's tone more (this one kind of felt like an action movie, especially whenever the federation was on screen) but this game felt more free and explorable. It did at least something with having other characters, the other hunters had pretty cool designs and it was cool to see why samus is the best. I think another reason of why this one felt more free was because of the length. It's about 9 ish hours compared to fusion's 4, and if there was 30 minutes of dialogue in fusion and 30 minutes of dialogue in corruption, it feels less suffocating in corruption. Think of it like this. You get a 20 on a test. But the test is out of 20. That's 100%. but if the test is out of 100, that's a 20%. which is a failing grade in most countries.
This one's gonna be a bit of a shorter review cause I gotta step out for a smoke and mentally prepare for Other M. Few last things I wanna quickly touch on. One, I liked the hypermode in this. It makes this one a bit harder than echoes (thank god) because the enemies have to do damage balanced around your potential immortality. But it also helps you choose when you wanna clear the room of bulletsponge enemies. It was a cool addition. I just wish less upgrades were focused on it. I'm not gonna be in it all the time, and upgrades like the electric wave when ur in hyper boost ball feels gimmicky and designed only to add another puzzle type. Goes onto my next point. Something I love about the other prime games is how once you get a hold of the controls that's all there basically is. Every action you get is an extension of your base movement. There's no buttons to press because you scan with your lock on or jump into it with your morph ball. The grapple hook is also an extension of your lock on, your super missiles are an extension of your charge beam, etc etc. This game has button prompts to get awkward fallout 3 conversation cams with npc's, levers where you gotta pull the wiimote to pull the lever (i played on primehack kbm so all of those puzzles were replaced with the button W) or something. It just kind of breaks immersion when you try to open a door and you see a huge text popup saying MOVE THE WII REMOTE TO THE RIGHT TO OPEN THIS DOOR. Speaking of wii remote, the grapple hook in this game is front and center. You grapple to pull shielded enemies' shields off, you grapple random debris, you grapple everything. It unfortunately also feels kind of tacked on and not like the rest of sammy's natural movement. You see something glow yellow or an enemy pop up with a shield and think "oh yeah." Okay, last point is the scavenger hunt. There is one in the game. But I think they finally got it right? By the time I was ready to head into the endgame, I had all of the keys but three. And this game is pretty linear, one planet to the next, so I hadn't been to these places in a while. The whole point of the scavenger hunts in these games is to encourage the player to do one last sweep/victory lap around the world picking up spare e tanks and missile expanders before they can face the final boss. But in prime 1, it was kind of redundant because I'd been to all these areas over and over before and gotten all the shit and I was only there for the keys and in prime 2 it was annoying because the game sucked and I didn't wanna play anymore (im just playing. but the prime 2 one was a SLOG I legit almost abandoned right there.)
Anyways, yeah that's about all. Thanks for reading. Sorry I was so serious this time. I've been having a lot of problems with the wife. I'll be writing serious reviews with no jokes for the time being.
EDIT: i played metroid other m for 12 minutes and got to a part where it told me to turn my wiimote sideways. there is no way to play it with keyboard sooo i guess ill have to skip that one and move onto dread oh noooo oh nooo thats awful
This one's gonna be a bit of a shorter review cause I gotta step out for a smoke and mentally prepare for Other M. Few last things I wanna quickly touch on. One, I liked the hypermode in this. It makes this one a bit harder than echoes (thank god) because the enemies have to do damage balanced around your potential immortality. But it also helps you choose when you wanna clear the room of bulletsponge enemies. It was a cool addition. I just wish less upgrades were focused on it. I'm not gonna be in it all the time, and upgrades like the electric wave when ur in hyper boost ball feels gimmicky and designed only to add another puzzle type. Goes onto my next point. Something I love about the other prime games is how once you get a hold of the controls that's all there basically is. Every action you get is an extension of your base movement. There's no buttons to press because you scan with your lock on or jump into it with your morph ball. The grapple hook is also an extension of your lock on, your super missiles are an extension of your charge beam, etc etc. This game has button prompts to get awkward fallout 3 conversation cams with npc's, levers where you gotta pull the wiimote to pull the lever (i played on primehack kbm so all of those puzzles were replaced with the button W) or something. It just kind of breaks immersion when you try to open a door and you see a huge text popup saying MOVE THE WII REMOTE TO THE RIGHT TO OPEN THIS DOOR. Speaking of wii remote, the grapple hook in this game is front and center. You grapple to pull shielded enemies' shields off, you grapple random debris, you grapple everything. It unfortunately also feels kind of tacked on and not like the rest of sammy's natural movement. You see something glow yellow or an enemy pop up with a shield and think "oh yeah." Okay, last point is the scavenger hunt. There is one in the game. But I think they finally got it right? By the time I was ready to head into the endgame, I had all of the keys but three. And this game is pretty linear, one planet to the next, so I hadn't been to these places in a while. The whole point of the scavenger hunts in these games is to encourage the player to do one last sweep/victory lap around the world picking up spare e tanks and missile expanders before they can face the final boss. But in prime 1, it was kind of redundant because I'd been to all these areas over and over before and gotten all the shit and I was only there for the keys and in prime 2 it was annoying because the game sucked and I didn't wanna play anymore (im just playing. but the prime 2 one was a SLOG I legit almost abandoned right there.)
Anyways, yeah that's about all. Thanks for reading. Sorry I was so serious this time. I've been having a lot of problems with the wife. I'll be writing serious reviews with no jokes for the time being.
EDIT: i played metroid other m for 12 minutes and got to a part where it told me to turn my wiimote sideways. there is no way to play it with keyboard sooo i guess ill have to skip that one and move onto dread oh noooo oh nooo thats awful
Palworld
2024
Barely a game, feels like it was made by some crude early form of AI. It runs like filth and looks like it too. There is also no goal or real purpose in playing it. You get pals to work and fight for you, what are they working and fighting for? Nothing, absolutely nothing. Just an empty sad void of a world with nothing to discover or experience. Can't forget the clear plagiarism of Pokemon designs and blatant near identical copy of Arks ui. Stain on the industry.
