Последние обзоры supernaut

It's taken me almost 200 hours to realize this and mind you, I still haven't finished it, but I just don't like Cyberpunk 2077. I got to level 49 as Nomad, level 17 as Streetkid and now level 1 as Corpo. No matter the life path I choose, it's the same damn intro, same string of missions once you meet up with Jackie, so the choice is meaningless in terms of what I personally need from this game, freedom. I would like to do a completely pointless low-risk mission in whatever part of Night City I like and I can't do that, cos Watson is on lock down and I've got this mandatory intro I have to get through. They really tried to emphasize in marketing that this is an RPG first and yet I feel playing a role more as a fixed character, Geralt, than as a randomly moulded clown I've made in the character creator. I always wake up to my short life path intro and then go through the same motions of this linear FPS. It's the same experience CDPR's competitors offer, so it doesn't stand out in any meaningful way and I've clung to the hope of enjoying and finishing it almost 2 years running now. A bug of the intro montage failing to load just brought all this ♥♥♥♥ back to my mind, so I think I'll revisit this game whenever the hell I'm ready for it, pre- or post-Phantom Liberty.

Surely I ought to recommend a game I've played for 62 hours? Eeeeeh well kinda maybe yeah. I don't know. It's weird, it's a weird game. That's actually why I bought it, cos how often do you look at big games and say: "Yeah, that looks weird." I don't think it happens often enough. And yes, I threw my money at Remedy despite all that negative bleh that has nothing to do with the actual game. Control has enough misses, so no need to bring anything else into the equation.

At its bones Control is a third-person shooter and office simulator via Stranger Things and a hint of bleakness and deadpan of Aki Kaurismäki movies. It's possibly Remedy's most Finnish game to date, that much I know. It's just a delight to hear Finnish singing and dialogue and swearing in such a big game. Martti Suosalo as Ahti, the Janitor, is honestly the big cherry on top here and I wish it had gone full weird. It hasn't gone "full Finnish", for that you'd need to hear the V word every two minutes. Also, it's set in a shared universe that's apparently been 10 years in the making.

We heard you like mods, so we put mods in your game, so you can pick up mods and dismantle mods all the ♥♥♥♥♥♥♥ time. An inventory with 24 slots per category, all these icons for all these different weapon and personal mods, it was a waking nightmare to manage all that. Provided you think all of it matters. It does! It really does, unfortunately. This is a tough game, there's no difficulty setting to choose from. It's a helluva learning curve and personally I'm less gung ho for Souls-inspired entertainment than I am just about wanting to relax with some quality stuff.

To say Control is visually striking and unique is putting it mildly, it oozes character and style behind every corner. The level of destructibility showcased here is also mesmerising. To make such a bleak environment so impactful is an achievement in its own right. I wish I could say something about the soundtrack, but I honestly don't remember a thing about it. There's a lot of licensed songs you can listen on the many radios you find, lots of Joy Division and New Order, but I could hardly hear it and it felt weird to just stand there. There's also an insane amount of collectibles across the main game and DLCs, in the form of text, audio and video, but after about 80 or 90 of them I lost interest.

Control can be overwhelming, very whelming indeed, it can be monotonous in its gameplay and the one-size-fits-all difficulty level was the wrong move, frankly. I enjoyed AWE more than The Foundation, the two meaty DLC packs and I'm excited about the shared universe. There's plenty wrong with Control, but there's plenty right as well and for the latter is why I'm recommending it. I hope it's a better fit for you than it was for me.

Vironpoika nyt arvostele suomeksi koska Frozenbyte on Suomen developeri ja tä on jo neljäs peli porojen tasohyppely sarjasta. Trine 4 on Ivan mahtavaa. Tämänlaisia peliä on paljon mutta Trinen fantasiamaailma sen kaiken värien ja fyysisten pulmien...perkele tämä on vaikeaa, jatketaan englanniksi. :D

You can relax, this is the classic Trine we all know and love, but I need to get something annoying out of the way first. I didn't like the "combat arenas" with their ghostly walls locking you in to fight several enemies on ghostly clouds. It gets repetitive. As Amadeus I immediately panicked, so for me he served mostly as a Medic to resurrect Pontius and Zoya. Zoya is way more capable with her fire and freezing arrows, although I miss having 3 arrow shots, whilst Pontius is my go-to character, cos he's just a brute. A brute who can glide with his shield. All in all I didn't mind the combat much, but I enjoyed its openness in Trine 2, cos it's more natural and less gamey. Also, where are the bosses in this game? I recall earlier games having way more bosses.

Visually it's very clean, which I liked and needless to say the game's absolutely gorgeous, which we've come to expect. Not as much clutter on the screen like in Trine 2, but that's personal preference I suppose. I haven't mention Trine 3 yet, cos while it was a nice experiment or a lateral move for the devs, I don't miss it. That said, it seems they've at least brought its visual fidelity over to this game. In terms of colour, Trine 2 was almost too much, while Trine, Trine 3 and this here game are more reserved but work better visually. I'm not sure if I'm making much sense, but that's how I remember them looking back.

Took me about 18 hours to finish it, I missed quite a lot of experience and collectibles, but chasing down the rest of them has been made very easy, at least until I had to consult a walkthrough to find the really tough ones. Each chapter has been broken down to loads of checkpoints and each checkpoint shows how much you're missing. Getting most if not all of the experience (I'm not sure) gets you keys for the main menu that are used to unlock an Easter egg. There's also an extra level called Toby's Dream, which is a dream level of a dog that belongs to Prince Selius, the Nightmare Prince.

Story, music and puzzles are all solid. Upgrades are also great fun here, though I left the bouncy ball too late in the game. In some chapters you have to contend with electricity, leaving Amadeus' main arsenal useless. There's just enough charm and challenge to keep you engaged throughout, the whole series is a lovely escape from adulting and the utter madness of the world. It's just all-around sweet as always. I recognise the co-op fun you can have here, but I'm mostly a solo gamer. Stories is where I go to relax. Although Prince Selius manifests his nightmares to slow down the Trine, it's a journey worth taking. Honestly, I didn't pay enough for it. Peukalot pystyssä edelleen.

Please fix the issues with bluetooth headphones. Once that's done, I'll write a proper review.

A fun little thing. Thanks for the free game, Devolver, it was nice and short. I probably wouldn't have seen some of the trailers if it weren't for this clever promotional tool. Couple of fun achievements, easy to 100%. I say easy, but it actually took a few tries to kill the boss and I sucked at timing the 2nd laser. Thanks, IggyMaid, for the guide and Stoibs for the tip on how to skip the rest of the lasers. I hope they make another one next year, maybe even grow it into a Hall of Fame of sorts.

It looks beautiful, the soundtrack is soothing and most of the levels are indeed relaxing. There are 60 levels in total and all you really do here is guide water to make flowers bloom. You can't progress until all flowers in a level bloom and continue to bloom. I don't want to call Spring Falls annoying when I clearly failed to absorb what I learned in the previous level and apply it in the next, but I was annoyed nevertheless. In the upper 40s is where I got frustrated, in the lower 50s I gave up and finished the game with a pictorial guide. Thanks, Lilly. I restarted quite a few levels, cos one wrong move and you end up with withered or flooded flowers. If you're okay with each puzzle having one correct order of moves, then you'll find yourself somewhere between relaxed and surprised by the challenge. I finished it in 2.7 hours, paid 2.87, so I'm cool with that. I threw it on the pile of short indie games I've finished and moved on.

Sevastopol? More like Disasterpol, amirite? If you haven't had enough of isolation and anxiety in 2020, here's a 20+ hour FPS campaign with natural stealth opportunities. I'm not a big fan of stealth games, I lack the patience, but here it really is in your best interest to avoid detection, so you don't actually mind all the crouching, sneaking, hiding and vent-crawling. I also opted not to kill any humans, cos the androids and the aliens didn't seem to need any help with that. If you already own Alien: Isolation and have failed to start it multiple times, which was my initial experience, be it for the scarce save options or general frustration, then please choose Novice as your difficulty level and strap yourself in. The game is intense enough as it is, cos each save point will be very very appreciated and the progress you make with each session will be satisfactory, because you survived.

Alien: Isolation is not graphically demanding, not even 6 years ago imo, because it doesn't have to be. Its retro art design that aligns itself with the original film perfectly only calls for authenticity not realism. That's not to say the game lacks detail, on the contrary. Living quarters, machinery, clutter, all have impressive amount of detail to make it believable to this day. That extends to the superb lighting, sound effects that make you twitch in fear or paranoia and visual effects like smoke and mist that you can use to your advantage. It all creates a level of atmosphere not often seen. Changing batteries on your flashlight might not be everyone's cup of tea, but lighting is absolutely crucial here, as opposed to a game like Doom 3.

Novice might be a bit too easy for some people, cos I found myself using the noisemakers most of the time, having all other items usually maxed out. The amount of lootable crafting components will surely come in handy in more demanding difficulty modes. Obviously there's the trope of not having any weapons midway through, but I'll give it a pass here, cos it adds to the suspense. There is no overall map for Sevastopol, the space station I mean not the annexed city on the Crimean Peninsula, only maps for each mission area. Backtracking on Sevastopol is almost counterintuitive, cos that's time spent away from the story, the tension and immediate danger, away from the furthest save station, so by the end of the game you're left with an ion torch and a fully upgraded security access tuner, but without the desire to find your way back to the starting areas. The game does throw you around already visited parts of Sevastopol multiple times, depending on the mission, but the further away you get from the next objective the more wrong it feels.

It's a long game and thankfully the tension isn't maintained at a steady 11 throughout, so you get vacation time from the alien while you deal with more androids using the revolver, shotgun, bolt gun, molotovs or flamethrower, EMP mines or pipe bombs. Thankfully cutscenes are held to a minimum, but the story does have an uneven commitment between cutscenes, audio logs and email correspondence. You're basically too busy surviving so attaching yourself to another Sevastolink station is not always a good idea and it's not always easy to make out the audio logs or concentrate on reading its subtitles, cos the game doesn't stop for you to enjoy them in peace. Alien: Isolation would completely fall apart without its adaptive AI. Here's a villain or boss you're not meant to kill, but to run away from, scare away at the best of times. The more you attack it, the angrier it gets. Eventually it will start toying with you, cos it has learned your tactics and the flamethrower will not always have the desired effect. The fact that the most iconic horror movie monster has found its way to a licensed video game of actual quality and is used in a way that does the character justice is nothing short of a miracle, so respect to Creative Assembly to sticking to their vision, even though SEGA at that point wanted nothing to do with another Alien game.

I've played it twice now, first back in late 2017. Still holds up, still fun. The story is, you know, around, but mostly it's about clearing closed areas of demons with a nice selection of weapons and glory kills. You can upgrade those weapons for mods, complete challenges for them, etc. It's sorta fast-paced, fun and action-packed, very nice environments and all in all looks a lot more vibrant than the grey and metallic and much slower Doom 3. Play the BFG Edition if you interested in that, it made me appreciate its pace and approach a lot more.

Hell Knights and Pinkies both come at you like absolute lunatics, but I thought the Pinkies absorbed way too much damage compared to other enemies. I'm not sure what a DOOM game should be in 2016 or 2020, but I loved the classic DOOMs and well, they're timeless. Would I enjoy a 1:1 modern representation of that same gameplay now? I honestly can't say, cos whenever that's attempted it seems to go awry. Same goes for this game, but I think that's okay. Checkpoint saves makes up the entire save system, but that's the world we're living in now. Doom 2016 is certainly different, but you're going to have fun with, most likely. This time I played it on easy and mostly looked for secrets and such. I've played worse games tbh. Plus I've never had much real interest for the Serious Sams, Painkillers, Bulletstorms and what have you.

Lightmatter is essentially a Portal clone and it's not shy with referencing it. I think Black Mesa was also mentioned once or twice. So it's an homage to Portal and the shared Half-Life universe, but I would've preferred the game to have an identity of its own, like The Talos Principle for example.

I enjoyed the puzzles, most of which are fairly straightforward and challenging enough. You can't mess up too much, since you can't jump with anything you pick up. The checkpoint system is actually surprisingly good, although I had to restart a couple of puzzles. I also enjoyed the art style, the music and the pacing, but the game's relatively short length of 4-5 hours works against it. The antagonist will chime in more often than perhaps you'd like and he's hopelessly trying to insult you, without the charm and wit of GLaDOS. David Bateson sounds a little too pleasant for this role, reminding me more of The Stanley Parable than Portal tbh.

JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST! JOURNALIST!

That's most of what I remember about the story. For a short while I was also referred to as an "assistant" and eventually a "spy." Why they deemed it necessary to really drive these home, I've no clue, but I will not be hypnotised to work in any of these professions if that's what they intended. Maybe I was a spy, I'm not sure, after a while I stopped listening to the antagonist and the voice recordings I found along the way.

It's a solid experience to consider during a sale, personally I don't regret the 12.59 I spent on it (thanks for the coupon, devs), cos it's still a pretty fun puzzle game. The demo did its trick and I've still got achievements left to go. I'm not sure if this review will go under the free version (first hour) or the DLC (the actual full game), but hopefully you'll see this, potential purchaser.

Red Dead Redemption 2 is a culturally significant work of art that should be preserved and archived. It should be backwards compatible with every equivalent device and OS that will be released in the future, so that it doesn't collect dust in said archive or be available only to a select audience as the original Red Dead Redemption. It's time that we bring the same level of care and respect to video game preservation as we do with motion pictures. I would name other titles that should get the same treatment, but comparison is the death of joy. This is bigger than Take-Two and Rockstar Games, it's not just an IP that has sold over 50 million units, it's not shareholder-porn or a toy for children, it's art. From Pong to RDR2, there's a bit of a leap there, so in a way it's the result of over 45 years of trailblazing. If a banana taped to a wall is considered art, then this is ♥♥♥♥♥♥♥ art.

Red Dead Redemption 2 takes an honest and self-reflective look on a young nation through a personal journey of a gang of outlaws. The outlaw way of life very much lives on today, but these people saw themselves as a dying breed in the face of lawful civilization and the industrial revolution. Romanticizing gangsters or outlaws is not everyone's cup of tea, which is understandable, but I believe most people are not beyond redemption. If Vince Gilligan made it possible relate to Walter White, then you should be able to relate to Arthur Morgan. While bestowing it all of this praise, I'm not suggesting this is a perfect game. The game's inventory needs refining, there are too many collectible strands and I need reasons to own and spend the tens of thousands of dollars I accumulate, to give you a more personal list. Open world games are a difficult balancing act and Red Dead Redemption 2 is probably the closest to a perfectly balanced open world experience. Be it an indie game made by one or two people or a game made by 3,023 people, to get the necessary funding, the talent and ideas together in time and produce a landmark, generation-defining title is the result of an obscene amount of luck and there are no winning formulas to keep a genre from stagnating. Every developer should ask of themselves: "What are we saying with this game?"

It's hard to write about the characters and the story without going into spoiler territory, so I'll do it in more broad strokes as best I can. Continue at your own peril. This is a prequel to a game with a different protagonist, John Marston, who's also introduced in RDR2 in a big way. Arthur Morgan is an iconic character that rivals its big-screen equivalents played by Eastwood. Arthur's facial animation clearly gets the most attention here; Roger Clark's performance is pivotal in bringing this highly detailed world and its great story together. Arthur is the counterbalance to Dutch, the gang's leader, Arthur's father figure, a narcissist intent on digging his own grave and willing to bring down everyone with him. But he's not alone in that, his mind is further twisted by the snakes around him. Arthur is loyal within reason, ultimately kind in his unlawful ways, if that's the path you take. He's uneducated but has wisdom, he takes time to think, but is helpless in trying to keep a dysfunctional family on the right path. He's not alone in his attempts, he gets help and guidance from Hosea, Charles, John and Lenny, while Sadie Adler could easily have her own spin-off game. Dutch has the allure of a seasoned preacher and the looks of Colonel Sanders in negative. He's the man with the plan and he tells everyone to have faith in his plan. No one is held prisoner, in a 'sinking ship' sort of way.

If you're going to invest 50-200 hours in an open world game, at least one of them ought to be this one. It doesn't overstay its welcome or careen into monotony and soulless completionist exploration. It's immersive as Skyrim and Witcher 3 and in many ways more so. As Witcher 3 it looks better than most games released today, which is not bad for a 4+ year-old game. It'll still look amazing another 5 years from now, so as you upgrade you can push it further. I got genuinely emotional playing this to the end, alongside hours spent on fishing and hunting, simply because Arthur Morgan is so beautifully realized as a character and without Roger Clark, who was robbed of many a award, this entire Western adventure would start to crumble. I don't mean to undersell Dutch van der Linde, played by Benjamin Byron Davis, cos one doesn't exist without the other, but they really lucked out with Roger Clark. One person simply can't make something on this scale and detail, so for now it takes a village of 3,023.