Nedávné recenze uživatele Wulibo

I tried SO HARD to like this game but it's completely unlikable. Its popularity astounds me, and I assume it's riding Baldurs Gate and possibly its sequel if that's any good. Maybe the game "gets good later," but it shouldn't take 13 hours of game time plus several hours reading guides to get my first smile. There are games shorter than 13 hours that I guarantee match this game's high points at the very least.

The 2-main-character thing is brilliant, it lets you do gish stuff in a sensible way by playing a mage and a warrior separately, doing all kinds of unique chargen stuff.

Everything else about chargen sucks. It explains progression to you very poorly, pretends to have a class system so you waste time researching the classes only to find they don't matter, and then you have to look all over to find the skills necessary for your build. It also makes you hold progression points for multiple levels to get important skills beyond level 1, which is VERY annoying with the green + on your portrait (don't get me started on the portraits). The linear level progression is ridiculous, a level 3 source hunter, IE your 30 year old expert hero PLUS two days in Cyseal could slay an army of their level 1 versions who should have the same training. Going to an area 1 level off from yours makes you feel like you've done the whole game wrong.

The quest progression is utter nonsense. I had to go on google to find out that quests frequently just become impossible to progress for a while, and you have to switch to other quests. I ran around Cyseal for hours bashing my head against the murder mystery quest because THE HELPER NPC LITERALLY TOLD ME TO KEEP FOLLOWING A DEAD END LEAD. The game's difficulty areas are very poorly signposted aside from guards telling you not to go somewhere, and I took a fight at level 2 that was basically impossible unless you're level 3. Replaying it at level 3 it was a fair fight, and I was excited to finally start experiencing the game at its fullest, but it's just an utter slugfest. Your dudes stand there hitting their dudes and maybe your support character does their rotation... that's it. The game promises interesting environmental manipulation, and the orc fight where that happened was neat, but it's not present often from what I've seen and where not present the fight mechanics are jsut not fun. It's even worse than D&Ds "I use my best attack again" slugfest.

The story is all over the place and not interesting. Something is unweaving time and you are the only one who can stop it. I am bored of this kind of narrative. Every high schooler who homebrewed a D&D campaign did this already. It interacts very weirdly with the grounded narrative happening around it, making for a tonal mess, and, again, the scattershot way it proceeds is very hard to follow and makes it impossible to get hooked, as you can't really ever be doing any one thing.

Game feel in the overworld is just bad. You move slow, NPCs are constantly shrieking at you, there is no indication of where to go, bugs ruin what should be a cool mechanic of splitting the party, and the layout forces you to jog back and forth across the city for hours, even with the fast travel.

This game is an utter disaster and I'll be having words with the people who recommended it to me.

10/10 game, strongly recommend to story-game fans and those looking for something different in action/sports gameplay.

Pyre has some really unique themes among video games, and it does a really incredible job of exploring them all. I'm going to be thinking about every part of the story for a long time. I'm also very likely going to do another playthrough in a few years, but I'm extremely satisfied with what I got out of this first one, and I think it's very intentionally designed to *not* encourage you to play it multiple times, *which is very ♥♥♥♥♥♥♥ refreshing and good.*

So artistically and narratively this game is a big success. I now own the soundtrack, and am considering tattoos of at least two characters.

As far as gameplay is concerned, I put off buying this game for years because the gameplay looked awful to me, but I quickly fell in love with it. The Rites are surprisingly fun even if you don't have a sports game background, and in fact IMO fixes a lot of problems I see in that genre that come from trying to be like actual sports. The characters all play really differently and the story and mechanics conspire to get you to try out a diverse range of strategies, while also allowing you to stick to what works best for you when it really counts.

Jodariel best girl!!!!!

It's social deduction (werewolf, mafia, avalon, etc) made accessible, casual, and very fun. This game has no serious flaws, and functions well both as an introduction to the genre, and a successful display of what the genre can be like in a video game.

Try it on mobile for a couple rounds first if you're not sure about buying it!

Not as good as this studio's previous game Bastion, but still worth playing.

The basic premise is that a cybernetic sword (the Transistor) translates dead people's minds into functions it can use in combat, and as its user, you find ways to combine the functions to build a fighting style. This premise is very interesting, but is not very well delivered upon here. I would've liked more reward for having my functions be "in conversation" than isolated fragments of information about the individuals. I think this concept would have been better served by hiring on a visual novel writer to help build compelling relationships between the individuals in the Transistor that we get to see grow as we use their functions together, rather than resting on Logan Cunningham's impressive voice acting (which they oddly did without developing HIS character very much either). This ends up making for a fun beat-em-up with a unique setting and mechanic, but the game's full potential is nowhere near met.

Likewise, the story is interesting, but not well presented. Scenes that should have been emotional fell flat because I was confused about relevant details, but the overarching plot was very simple. I cared about the bond between Red and the narrator, but basically nothing else in the setting. A story about one person and her talking sword standing against a horde of evil is a strange match for gameplay elements about minds interacting in interesting ways.

Overall, this game is disappointing compared to what it could have been, but is satisfying enough taken for what it is. I do not regret playing it.

I hate platformers.

I hate mechanically challenging games.

Hollow Knight is one of my favourite games ever.

I got to a mysterious, fantastic, gorgeous part of the game on an empty stomache and kept sprinting through it without thinking about what was happening, then starved to death. This minimal spoiler is worth the point it makes that gameplay elements are such that everything that should draw you into this game is ruined.

I get it if you like difficulty and frustration in your games. Not everyone is like that, and those who are have really great options already.

In 2018 where there are artistically brilliant games for cheap everywhere, devs now need to justify every moment they are having their player spend on the game. Capy has done a good job of this in the past with the constantly rewarding Superbrothers: Sword and Sworcery, and seems to have failed to realize that it was not *just* the aesthetics that made it so, but also the thoughtful integration of gameplay with story and incredible writing. Here, however, there is too much unjustified repetition and backtracking and I've just had to make the choice to spend my very limited time elsewhere.

I will be on the lookout for the release of a casual mode without permadeath or the feel-bad survival elements. Such a mode would be completely antithetical to most of the design philosophy of this game, but at this point that's not a good argument against implementing it.

(More time spent on game than indicated because of much offline play)

This is my new favourite TCG. The number of meaningful decisions made per match is incredible, the gameplay is quick, fun, and complex, and the artwork and overall aesthetics are beautiful.

Draft and constructed are both great, though I find myself playing almost exclusively draft. I think the principle reason for this is the small card set that exists right now. There is not much variety for deckbuilding right now and the constructed meta involves very few matchups. However, variation within matchups is huge compared to other TCGs, mitigating this noticeably. Playing with Core Set 2019 only in MTG would be nowhere near as much fun. The future of constructed is bright, and draft itself is enough of a blast to justify playing anyway.

I am finding success in expert mode, but if I weren't and couldn't justify risking the tickets, I'd still be happy with casual play. The no-risk phantom drafts are endless fun, and people don't seem to be abandoning and re-drafting for perfect decks as some suggested they would. For the price tag, the amount of high-quality gameplay without spending another penny is already way more than enough, and the cost to keep playing in expert is pretty low if you're close to 50% winrate.

As for the overall economy, I really disagree with the popular view that it's a big problem. People have said over and over that it's far better than other TCGs, but I don't think that's constructive at this point. To convince you that the economy is nice here compared to a free-to-play game, I'll point out how cheap it is to "rent" decks. If you don't mind the money staying within your steam account, you can buy all the components of a deck, play around with it for a few days, and just sell the components again for relatively little cost. In Hearthstone or especially MTGA, once you get a deck you're stuck with it, and lose either 75% or 100% of the value if you don't like it. I always hear people asking on HS "is this a smart craft?" etc, but in Artifact that's just not an important question. You get to play however you want, whichever decks you want, and the investments are minimal.

In conclusion, I strongly recommend buying the game and trying a few phantom drafts without claiming your packs. Valve will give you a refund if you don't like it, and if you do, then the $20 pricetag is probably worth just that aspect, and you can decide what to do with the packs/tickets in the future, if anything.

As with most of the reviews here I'm going to start by recommending that you go into this game blind. The game lacks combat and action, but it will keep most players engaged anyway. If you have played and enjoyed OFF, Yume Nikki, or Undertale, you should play this. If you have not at least played OFF, you LOSE. It is free and an absolute classic. You have no excuse. Go play it and maybe Yumi Nikki and then come back here.

Now, I was going to write, "OneShot is continuing a tradition started by Mortis Ghost with OFF and revived by Toby Fox with Undertale of using gameplay and video gaming convention as story element; using the medium of gaming as material for a game." Imagine my surprise when I learned that OneShot was written and created as a minimal freeware version a year before Undertale was released! OFF and Yumi Nikki have clearly influenced this game, but Eliza Velasquez is doing something entirely different, unique, and innovative with OneShot, in some areas succeeding where nobody else but Fox has done as of writing, apparently without being influenced by him. I am confident that any future history of modern metafiction or structuralism that leaves this masterwork out will be incomplete.

Why do I call OneShot a masterwork? It excels in three categories whereby a game of this kind can be measured—aesthetics, narrative, and gameplay.

-First the aesthetics. NightMargin succeeded in every way here. The soundtrack, backgrounds, and characters all cooperate to create a coherent and immersive feel that match the tone of the story perfectly. Writing about this topic feels pointless, you can easily see for yourself.

-Enough pixels have been spilled praising the narrative in OneShot, so I'll say only what I think I can say with any novelty here. I have long been saying that the unique advantage of video games as a storytelling medium is level of engagement with the player. Authors have been trying to include their audiences in their works since ancient Greek tragedies, and real success has been enjoyed in this venture really only by certain performance artists and the collaborative medium invented by Gary Gygax (call it what you like). Only this decade have we attained mass-reproducible art that fully involves the audience. I contend that to date, OneShot remains the work that achieves this to the highest degree.

-Finally, the gameplay. At core, OneShot is a glorified top-down point-and-click. The familair mechanics of "find the items, figure out how to combine them, interact with the world with the right item" are tired, though they have been the mover for a lot of great narrative games in the past. They do not feel tedious here even to someone who generally despises them, and that's before considering the innovation. OneShot's puzzling forces you to think outside the box in ways few games have even attempted. Although innovative, at best OneShot's gameplay gives you one "aha" moment per new idea, and then applying the idea becomes just as rote as the other mechanics. Overall, I don't think that the gameplay detracts from the game at all, and the new ideas are implemented well enough to seriously bolster the game's consideration in this category. It's fun, and it executes its new ideas well.

It is more than a little disturbing how accurately DONTNOD was able to show me a window into my childhood spending a christmas with an alcoholic single father. Everything is perfect. The kid's detailed escapism incorporating elements of his situation, the dad's justification of his actions and two-faced presentation of himself to his kid... and the scene where he wakes his dad up because his dad asked him to was like watching a video someone took of similar moments in my life. The kid's hesitation and confusion, the dad's movements and reaction, everything is exactly right.

It doesn't get so intense that it should deter most people, but do know that they captured exactly what they wanted to.

Terraria is straightforward, crisp, nice-looking, and large. It's a great game to calm down with after work or a big loss in a competitive game, or to kill a lot of time without having to think too hard. The overall atmosphere and writing are cute, flavourful, and expansive. There is a lot to do, and there is a lot of replayability. In short, this game isn't particularly special, innovative, artistic, or even extraordinarily well-executed, but it's a great purchase at any rate.

Its online capabilities make it a great ongoing roommate/dorm/breakroom server game, with fun PvE and PvP in a casual environment. Short of regular Dungeons and Dragons, this is the best game I've played over a long period of time with a group of dedicated friends. Cooperative play is hard to do, but the sheer size and number of things to do in this open world make it breezy.