Nedávné recenze uživatele marglark

I'm really, really late to this game. I installed 80+ mods before I left the tutorial (I.E. my first playthrough), and I thought that was a great way to go about it. I had some experience with modding Skyrim, but if you don't have experience adding mods to games, I think this is a great place to start. There's a lot of potential for mods to renew the game, there are a lot of problems that have been solved because other people have run into them already, and finally the modding community is still very active for this game.

I can't speak for the game without mods, but with mods, the game didn't feel anachonistic/old. There's a lot to be said for the game. Survival mode is super fun and, while there isn't an unlimited amount of choice, the writing is pretty good. The game even posed a moral dilemma I had bouncing around in my head for a few days. Most games don't do that.

I recommend the ultimate version of this game with some mods (maybe not 80+), though keep in mind that patrolling the Mojave almost makes you wish for nuclear winter.

This is not that much of a "game." By its own admission, there is no way to make a mistake or do it wrong. It is, however, a valuable experience, kind of like a guided meditation that will never be the same twice. I know some people who were turned off by the Alan Watts lectures (not me), but know that they are completely optional and can be turned off/avoided. Finally, if you're not looking to transcend your individual form, there is still fun to be had. I've spent a lot of time just being a giant duck because its funny.

Many thanks to David O'Reilly for directing this sort-of-game.

Sunset is a game about war. In the same way that All Along the Western Front is a book about war. If you would like to reflect on the impacts, horrors and confusions of war, I recommend this game.

This game is not like many other games. Some people have compared it to Gone Home, but I think Gone Home is too coherent for that. This isn't a bad thing. It is the difference between a poem about an apartment, left up to interpretation, and a story about a house, which still has interpretations, but is more clearly about an arc. I think this is more similar to The Beginner's Guide. I consider this experience to be an "emotional sandbox" game. More generally, it is a kind of living poem, like other Tale of Tales games. The power of this game is to get you to ask emotional questions about your character and her actions. When the bombs are dropping, do you update the calendar? Is that because that's all you have control over?

A note, the game does not seem particularly well optimized, and I had a few troubles with the controller I was using, but in the end it worked fine on my computer, and the beauty shines through.

I'm going to put this game up there with a game like "The Stanley Parable" for its ability to deconstruct what it means to play a game. This game has a coherent story, so it is less experimental in that regard, but it is very novel and effective in its exectution of that story.This game doesn't "play" like "The Stanley Parable" does, but it accomplishes a similar feat of reaching and shaking you, not your character, you - when it breaks the fourth wall.

What a simply beautiful game.
I haven't finished yet, but I feel the game has already been a valuable spending of my time and money.
This game is all it needs to be. It has personality in its simplicity. It is a joy to play.

I really liked this game.

I liked its visual presentation, I noticed that all the human "actors" were left out, I think perhaps to keep the "cartoonish" style out of the uncanny valley. I don't think the game suffered at all from this decision. I think the game's visuals consistently managed to achieve what was necessary for the game, and then keep going (I'm thinking of the scenes after each core memory). I read another review complaining about the underwhelming use of the unreal engine, but how this game looked never distracted me, but rather fascinated me, except for when I had to brefly change resolutions to read handwritten things (my computer isn't great, so I don't use max settings).

The story is the money maker here. I'm the kind of guy that is surprised by a movie's "twists" when everyone else in the theatre saw it coming a half hour ago, so I'm not hard to captivate. That being said, I feel this game puts the player in a very unique position, one that generates a lot of empathy for the characters and also leaves you hunting for every last hidden bit of the story - to try to make sense of it all as your character does. The voice acting definitely makes up for the lack of character models in the game, I thought.

The puzzling is alright. The puzzles don't make sense in an exactly rational way, which is why you have to remember that you're exploring a person's mind and you aren't in the real world. Each puzzle is essentially about laying an anxious thought to rest, which is very interesting when combined with the story, but if you lose sight of that you'll probably find the puzzles boring, or at least run-of-the-mill.

Overall the game kind of plays out like you're living in the audio diaries that you find in a game like Bioshock, say, though they are less of a distraction, and more the driving aspect of the game. Some people love that stuff. And those people will not be dissappointed by the attention to detail and careful exposition of this game. I wouldn't play it just for the puzzles.