Warsmith 最近的评测

Rogue Trader is a dense, ambitious CRPG that does a great job capturing the grim, gothic madness of the Warhammer 40K universe. You play as a powerful noble with a starship and a warrant to do basically whatever you want in the name of the Imperium; whether that’s trading, conquering, or consorting with heretics. The game is packed with choices, deep turn-based combat that continues to build on itself as you play and a genuinely impressive amount of freedom in how you roleplay your character. There are some stunning environments with Gothic Cathedrals, Industrial hive-worlds, the Dark city of Commorragh and more... The writing is heavy on lore and full of flavour, though sometimes it leans a bit too far into exposition especially without voice acting. It’s also got a small amount of jank, bugs, a cluttered UI. There's also some pacing issues with some story beats that drag or get lost amid the layers of optional exploration. But if you’re a 40K fan or love deep RPGs with real player agency, it’s absolutely worth the time, just be ready for a learning curve.

Abelard, post the review now.

Fallout 2 takes everything that made the first game great and turns the dial way up. If Fallout was a gritty, tightly woven post-apocalyptic survival story, Fallout 2 is louder and more chaotic. Fallout 2 is a mark of growth in the series, as vaults are no longer the staging ground for activity... something that is deeply missed with bethesda games. The world is massive and packed with things to do. Compared to the first game, it feels sprawling, with more towns, more characters, and way more bizarre side quests. You can go from being a selfless hero trying to piece civilization back together to an adult-film star, NCR ranger, addicted to drugs... building a car. The game just lets you go nuts. The writing is still sharp, slightly regressed from fallout 1 but this time it's got a much stronger dose of dark humour and satire, with a sprinkle of easter eggs. However the major themes still hits today with its critiques of power, tribalism, corruption, and greed. Combat is largely unchanged from it's predecessor: turn-based, methodical, and often brutal although companions are more fleshed out which range from being essential to absolutely hilarious.
There's more of a mess in Fallout 2... a sprawling wasteland with pockets of life. You never quite know what you’re going to run into out there in the Wastes, and the game is constantly rewarding your curiosity, creativity, and weird decisions.
If you've played the original, Fallout 2 is essential. It’s rough around the edges, but under that jagged surface is one of the richest RPG experiences ever made.

Your ride's over, mutie. Time to die.

Fallout is one of those games that once you play it, it sticks with you. It builds a soulful world that’s both grim and darkly funny. The writing is sharp, the characters feel real and the 3D models are so charmful. Every town you visit has its own vibe, its own problems and usually more than one way to deal with them. What really makes it stand out, though is the freedom. You’re not just picking between a few dialogue options or following a fixed quest path you can talk, sneak, shoot, lie, or just wander off in your own direction. The game actually reacts to what you do, builds curiosity and narrative progression through actual encounters not cutscenes and choices often come with weight. Some of the decisions you make will stick with you, and not always in a good way. I really liked the soundtrack, with it's ability to drum an eerie tone through the game.
The combat’s a little clunky by today’s standards and it certainly doesn’t hold your hand, but it gives you the tools to make your own story. If you’re into RPGs and you don’t mind some old-school mechanics, it’s worth experiencing. One of the best games in the series.

War. War never changes.

FromSoftware has crafted something truly special with Sekiro: Shadows Die Twice. While it carries the studio’s signature challenge and intensity, Sekiro feels like a bold and refreshing evolution. Sekiro demands absolute mastery of a fixed, beautifully honed combat system and the result is exhilarating. Where the other games lean into a deep heavy mysterious atmosphere and player customisation, in Sekiro lies a deeply emotional tale about loyalty, loss, and personal redemption with an actual protagonist - not a blank slate.

The swordplay is nothing short of breathtaking. Every clash feels deliberate, with parries, counters, and perfectly timed attacks creating a rhythmic dance of steel. Victory isn’t won by brute force or grinding stats; it’s earned through learning, adapting, and, above all, perseverance. This makes every boss fight — every triumph — incredibly rewarding.

The world of Sekiro is equally stunning. Set against a mythical, war-torn vision of feudal Japan, the game is a painterly blend of beauty and brutality. From the crumbling castles to the misty forests and sacred temples, each area tells a silent story, inviting exploration and rewarding curiosity with interesting side-quests.


In short, Sekiro is a masterpiece.

Hesitation is defeat

Besides a few rough spots The Witcher 2 continues seamlessly from the previous installation of the series bringing another continuation and insight into the immersive, fascinating world of Witcher with great setups, fitting payoffs, unexpected twists and betrayals. Combat has undergone a significant overhaul. For players transitioning from the original game, it retains a familiar foundation but introduces enough changes to feel fresh and engaging. The strong and quick attack styles remain with however progressing through the Swordsmanship skill tree adds new layers to combat, including group damage abilities and cinematic finishers. The finishers bring a dynamic flair, there’s something thrilling about cutting through a swarm of Harpies and ending the fight by dramatically driving your sword into the last one’s throat. Choices truly feel represented in Witcher 2, actually showing change in the world rather than just in the story and character is something you can feel and interact with, it follows you whether you like it or not. It's truly astonishing to finish the game and realise that choosing a different path could have led to an entirely different experience, almost like playing a completely separate game. Witcher 2 does a lot of things well however at the same time, so many irritations spoil the game from being great. Namely the interface, probably the worst things about this game, don't even get me started how badly the map sucked. You literally had to zoom in and then it would be of no use would leave the player further confused with the markers on the map making no sense what so ever. The inventory management is a tedious chore, cluttered and unintuitive, which only adds to the game's many frustrations. Although Visually, the game is stunning for its time, with richly detailed environments and character designs that bring the dark, morally ambiguous world of Geralt of Rivia to life. Despite occasional pacing issues and a somewhat clunky inventory system, The Witcher 2 delivers an engrossing tale, rich world-building, and a mature approach to themes and decision-making. It’s a must-play for fans of deep, choice-driven RPGs.

Ou-ou-ou-ou-out of my sight, Clover!

Witcher 1 has great atmosphere, compelling story and excellent well-realized dark and gritty world, it is definitely worth playing as the first game in the series and as throwback to when there wasn't so much rigidity in the formula of the video game industry. The game could be described as a slow burn but it hooks you surprisingly quickly introducing you to an immersive and complex alchemy system that really makes you feel the preparation of a witcher before fighting and combat which, whilst limited, feels fun once you get used to how it works. The game really nails and captures the atmosphere of the books with a charming goofy tone and moral story-impacting decisions that never cheap or pointless.
The game mechanics are undeniably clunky and the graphics are dated with associated technical issues like crash bugs and long load times, it is an old game but this feels refreshing when compared to modern titles with it's lack of "hand-holding" and trust in the player to figure things out on their own. There's a degree of backtracking and impractical day-night time cycle which can get frustrating but never in my opinion developed into being unplayable. If you can look past the technical side of things and lose yourself within the world of Witcher 1 it'll definitely be a game you’ll remember well over the years.

Let's go... We need to deal with the beast.

This game has succeeded in being the scariest game I have ever played... Seriously. I can only describe it as an unending fever dream as you force yourself to go against your instincts and face your fears.
Resident Evil's finest asset is how it invigorates exploration by making every room you unlock an enigma. Behind every door are glimpses at the mansion's history, hints of experiments gone wrong, and bizarre contraptions coated with an occult veneer. Solving a puzzle is to wipe away some of the fog that obscures your understanding. The game is an epitome of survival horror, when attacked by a foul monstrous creature the fear didn't come just from the haunting screams and throaty snarls, but from knowing that I was practically defenceless. By giving you the bare minimum to survive and a meagre carrying capacity elevated the dread causing you to constantly question each decision and journey. Adding to the fear you don't freely control the camera during your endeavours, every viewing angle enhances the claustrophobia. Some of the most dangerous places are also given the most limited screen space, causing you to keep your head on a non-stop swivel; you hear the growl of a living corpse behind you, but all you see is the dingy carpet, the peeling wallpaper. The environment design is so delightfully devilish, each scene feels ripped straight from a horror movie from a haunted mansion, spooky woodland cabin to a forgotten evil laboratory. Everything felt so finely tuned to induce blissful terror from an engrossing adventure to tense exploration and clever environmental puzzles; a true gem of fear.

Itchy.
Tasty.

Armoued Core VI Fires of Rubicon is a masterpiece, from its gameplay to the story and artistic design.
The combat is extremely fun, just flying a huge 10-meter tall steel mech through levels while bombing and shooting everywhere. Honestly, the levels themselves are kind of like an appetizer for the battles against similar hulking machines. Strategically dodging while timing my shoulder bazookas to stagger the enemy, then charging in and punching them with a chainsaw was always fun. You really feel the speed and ferocity in these pirouettes of metal against metal with flash-fast reflexes and dodges, accompanied by incredible voice acting that heightens the tension. The story brings intrigue constantly drawing you in, notably the way you build a reputation, so enemies scream and panic when they recognize you. The finale is menacingly epic and really pays off, feeding you with glory/heartbreak/vindication only aided by the raw soundtrack intensifying the conflict further. Character customization, and AC6 let you equip all sorts of guns; explosives, laser swords, laser rifles, etc, equipping up to 4 weapons at any given time. The game has so much variability, you can change your entire gameplay, from a tanky brute to a swift striker.

I’ve seen some complaints about the game’s graphics, but I think the graphics look solid enough, especially with some of the spectacles this game has to behold. The sense of scale gets reflected so well with bee-sized helicopters and shoe-box-sized skyscrapers.



Feed the fire, 621. Let the last cinders burn

Lies of P undeniably echoes the gameplay style and mechanics of Bloodborne and Sekiro to a significant extent. From the challenging visceral combat system, where precision and timing are crucial to the ominous atmosphere and grotesque enemy designs. However, despite the blatant similarities, Lies of P does manage to carve its own identity.

The narrative, although shrouded in mystery, introduces unique lore and a captivating world leaving you hooked throughout. The incorporation of different environments and level designs paired with an extraordinary soundtrack showcases the developer's creativity and ambition. There is so much tactical acumen allowing for meticulous fine-tuning with tons of weapons options offering unique pairing options for each weapon head and handle in addition to a diverse and useful range of legion arm abilities. The weapon-grinding & weapon-break mechanic plays into an interesting dynamic, acting as a secondary battle to keep your weapon from breaking before the enemy's weapon. The grindstone also allows you to imbue your weapon with a variety of really useful effects. The bosses are magnificent, never failing to carry weight or momentum behind them paired with perfect music and entertaining fast paced move sets. The last boss of the game was truly incredible, a wonderful song of metal clashing metal with an astonishing zenith in the narrative to suit. One thing I would've wished is that your individual decisions had a greater impact on the story, it's rather the culmination of choices that has any significance.
Overall I would thoroughly recommend this game if you're looking for a challenge and beautiful story.


You're special, son.

Wolfenstein The Old Blood has some funny moments and pretty punchy gameplay but compared to it's equally priced counterpart Wolfenstein The New Order, this game feels more like a protracted prequel DLC. Large sections of this game feel tedious with poorly implemented stealth sections, the boss fight at the end was poor and there's a lot more weapon variety in The New Order. The game is undeniably fun but largely fails to meet the standard of other instalments in the series therefore I'd recommend this game on a heavy discounted sale or skip it entirely.