The last few games you beat and rate them 5

Frankie Spankie

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Feb 22, 2009
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- Add in lore from side games no one gives a shit about.

I know you weren't reviewing FF7 but I haven't even played 7 at all, original or remake. A friend of mine who is a big fan of 7 played the remake and couldn't even finish it because of how long and meaningless a lot of the new side stuff is. From what I recall, he was saying there was a lot of side content they forced you to do that was just completely meaningless, they just wanted to artificially make the game last longer.

Someday, I'll play FF7. But I got a feeling it'll just end up being the original version and not the remake.
 

Voodoo Child

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Jun 16, 2009
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I know you weren't reviewing FF7 but I haven't even played 7 at all, original or remake. A friend of mine who is a big fan of 7 played the remake and couldn't even finish it because of how long and meaningless a lot of the new side stuff is. From what I recall, he was saying there was a lot of side content they forced you to do that was just completely meaningless, they just wanted to artificially make the game last longer.

Someday, I'll play FF7. But I got a feeling it'll just end up being the original version and not the remake.

That’s the way.
 
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Jovavic

boohoo, Pens "fans", BOOHOO
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FF9 does get lost and it has some good ideas. I liked getting your spells and moves through the equipment and I loved the dungeon that reverses the power of your weapons so the dinky dagger you get in the beginning of game is the strongest in there. I thought the CGI was great with that one with the summon being the best (don't want to spoil a 25 year old game for someone lol)
 
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Blitzkrug

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Sep 17, 2013
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Speaking of things that are not as good as they used to be re: Zelda - though I'm not the man to compare because I loved every second of BOTW and TOTK and haven't played a 64-GC title in a decade.

And a page or two back a user is mentioning going through all the FF games.

Final Fantasy IX Switch (2000, 2019)

@Blitzkrug Are you here yet?

I made a review of CC: Radical Dreamers not long ago. No, I thought I did - okay, beautiful art and soundtrack, memorable battles, f***y story and no character development, 9.3/10. It’s in the games you’re currently playing thread.

For the longest time I had it ranked above FFIX, and yes, it certainly does some things better; better art style, better score, better combat and a better overworld.

But FFIX doesn't lag too far behind in art or music (CC is just that good) or overworld (CC is more compact), but combat...that's a 1st round KO to CC.

But what it has that CC lacks are:

A SSS-Class roster of characters. Zidane, Eiko, Garnet/Dagger, Steiner and Quina stand out for their development, arcs and realism. Freya and Amarant kinda get shafted but aren't on the Vincent or Kimahri tier of 'just there'. It also has the best romance in the series because it starts small and builds.

A story that makes sense the first time you play it headed by a memorable villain with clear, changing motivations. No last minute dick pulls (The last boss is foreshadowed if you pay attention starting around the Iifa Tree).

A definite sense of progression without coming across too linear and a lot of enjoyable, rewarding sidequests (Chocobo Hot and Cold is IMO the best sidequest in the series).

A sense of humor about itself while also tackling mature themes like destiny, mortality and duty adroitly.

Are the battles slow? Yeah but you can now speed them up. Does the story plod at times? Yeah but it never completely stops like it does at some point during every other FF.

It might be the new king - it was always up there and I haven't played the others in a while and will need to. I've played I (I was like 9), IV (pretty awesome), V (okay), VI (god-tier), VII (lesser god-tier; stalls in spots and marked the end of character classes), about 30 hours of VIII (the f*** were they thinking!?), this one, X (lesser god-tier because it's the beginning of modern 'hallway simulator' JRPGs), XII (god-tier mixed with what the f*** were they thinking?) and VIIR (that's some cool lore you have there...it'd be a shame if someone took a crap on it).

As good as VI, VII and X are...IX is the only one I enjoy every second of. The ending? I'm not crying, you are! 'That' scene in Pandemonium, and you know the one I'm talking about - more soul and passion in it than there has been in every title combined since the merger.

9.6/10

Stats:

52:36:07

Memoria party:
Zidane with Ultima Weapon, L77
Vivi with all spells, L68
Garnet with Ark, L69
Steiner with the four big sword arts, L71

All with Auto Life and Haste, Vivi and Garnet also Auto Regen and every single status breaking ability available for the final boss.

Sidequests:

Ozma - no, been there done that.
Chocograh quest - completed, best way to get the best gear.
Mognet Central - see Ozma.
Stellazio - see Ozma.

I mention Chrono Cross several times in this post, and I hear there's a remake of FFIX in the offing, and combining both games is the direction they should take.

Don't do what you did with FFVIIR and;

- Take 15-20 years to release the whole thing.
- Add in lore from side games no one gives a shit about.
- Completely alter the complexion the the story by introducing the villain and alluding at length to Cloud's turmoil ten minutes in.

To Square-Enix President: You are NOT going to make a better open world adventure game than BOTW (or TOTK, or Tsushima…), and you are NOT going to make a better WRPG than Witcher 3 - stop trying. Cut-for-cut, scene-for-scene with better graphics and an orchestrated score, on-screen enemies and the ability to flee any battle (like Cross) and a New Game+, change Quina’s pronouns for the snowflakes if you have to it’s an irrelevant detail. I just rescued Square-Enix.
I'm actually playing Stranger of Paradise right now. 16 left a bad taste in my mouth but also somehow had me intrigued at the idea of a more action focused Final Fantasy game.

It's not bad thus far. Story is trash but the gameplay is pretty fun. Sometimes that's all you need.

With the sheer amount of JRPGs releasing in the next couple months (next Yakuza, Rebirth, Persona 3) i'll probably put the old school FF games on hold for now.
 
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Ceremony

How I choose to feel is how I am
Jun 8, 2012
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Disney Speedstorm (PS4, 2023)

Disney Speedstorm is "the ultimate hero-based battle-racing game, set on circuits inspired by Disney & Pixar worlds." It was released in early access early in 2023 and went free to play in October. I started playing it then and I've played it every day since.

There are two reasons for this. The first is that it's an extremely good kart racing game. It's an extremely good racing game. Handling and drifting is easy to pick up and quickly feels intuitive. There's a range of powerups available for both attack and defence which adds a frantic layer of tactics to your racing. Races are short - usually lasting two minutes at most - and rather than feeling superficial or unfair this somehow fits the style of the game. Couple this with bright, rich settings for tracks and an assortment of characters (I think I have 34 unlocked at time of writing), and it's almost impossible to not feel engaged.

Obviously the Disney name is a significant part of the game's appeal, and gives it an almost limitless potential for new content added in updates. Since going free to play, Aladdin and Frozen characters have joined Mickey, Toy Story, Hercules, The Jungle Book and others. It's been a long time since I watched any Disney films but lots of these were an integral part of my childhood so if the old frozen head in a jar wants to cash in, why not? Steamboat Mickey also features, but he's not doing some of the other things I've seen him doing online lately.

In addition to the standard drift and boost mechanics of a kart racer, there are different types of racer you can play as and a variety in powerups linked to that. There are four different classes - Speedster, Defender, Trickster and Brawler. Each gets a slightly different set of powerups, so controlling a race as one class will require a different focus from the others. This helps keep the gameplay fresh from race to race, and each racer's own unique ability which can eventually be unlocked potentially swings the race in your favour even more.

Characters each have a good amount of personality in a number of ways. They're all physically recreated pretty accurately. They even have some of the real voice actors. Robin Williams isn't there obviously and they got Tom Hanks' brother who apparently does voiceover work for him when he can't be bothered, but James Woods! Tim Allen! Well they probably didn't have much else on. Maybe Steve Buscemi and John Goodman were busy. Either way, if there is any part of your inner child left in this jaded, dying world you will raise a smile somewhere if you spend any time with Speedstorm. Racing on the various tracks is also soundtracked by remixes of all your favourite Disney classics - A Whole New World, Bearnecessities, Let it Go - if you wanted a light techno version of any of these, you're in luck.

The second reason I've found it so easy to return to this game so much is the structure of it. There are two multiplayer modes, ranked and regulated. Regulated puts everyone at the same level and goes with it. In ranked you use your own unlocked racers and you can rank each of them up by racing, earning rewards along the way. This is fine, although the game had problems when it went free to play because players with a low online rank were being matched against players with a high character rank. This was allegedly addressed in a patch, but I've noticed literally no difference.

The notion of levelling up characters is another part of the game's appeal, although it exposes part of my ignorance of modern multiplayer games. The only multiplayer games I've played since even just getting a PS4 have been Rocket League and Gran Turismo. In Rocket League you play Rocket League. You can unlock cosmetics but gameplay doesn't change. In Gran Turismo you buy cars in-game and race them. Easy.

Speedstorm has what seems to be every trapping of a modern day free to play game. A Golden Pass, microtransactions, three kinds of currency and multiple time-limited events every day. For a Disney game that's full of Disney characters to have the somewhat aggressive shop this does makes me feel quite uneasy. It's easy for me to ignore this (and the game isn't shy in giving you various rewards), but that's not the point when it comes to games where you can spend real money. Gameloft do listen to feedback regarding the shop and prices, rewards and items for sale have changed for the better over time, but it still doesn't really sit right with me. I checked the main purchasable currency, tokens, once to see what you actually got for them. £16 worth could get you a new outfit for Jafar. You could buy Tokens and spend them on proper upgrade materials too, but a large part of the store is geared towards expensive cosmetics. In a Disney game that's going to be popular with younger players I just don't get how anyone could look at this and go through with it.

Single-player content comes in two main forms, Seasonal events and Limited events. The game runs in 60 day long seasons centred around different Disney franchises, with new events becoming available each week. Limited events are races against the AI with varying criteria. Some are one off races, some are time trials, some offer multiple rewards for winning a race multiple times, or for other objectives like stunning opponents or drifting for a certain amount of time. These all offer pretty substantial rewards for improving racers, so there's a strong incentive to keep coming back.

The other side of the free to play microtransaction-ridden nonsense comes in here as it pertains to upgrading your characters. Each character has a star rank out of 5, and a level rank out of 50. Their level is limited by their star rank - the highest a 1 star character can go is level 15, a 2 star level 25, and so on. This can be frustrating when a character is stuck at a level which you have upgrade parts for, but not enough shards to raise their star level. Of course, this is the point and is supposed to usher you into buying the resources you need, but I'm not doing that so I often end up abandoning characters until the chance comes up I might get what I need.

That said, there is plenty of opportunity to get what you need to upgrade characters. Ranking characters up online gives you resources. There are free boxes and shards you can claim each day, and the Season events offer substantial rewards. So does the Golden Pass, and you can quickly earn enough tokens to upgrade this and earn even more. In addition to characters there are crew members who offer stat boosts to things like each characters speed or acceleration, so there's plenty to upgrade and you will upgrade things frequently if you play frequently. If you do find a limit, due to the game's apparent nature of being something you can dip in and out of you can easily shift your focus somewhere else when this happens.

I don't know how much longer I'm going to be playing Speedstorm. According to the game I'm around 40 hours of racing in so far after two months and I'm showing no signs of stopping. If you want a review, there you go.

Actually, reading this back I realise I've spent more time describing menus and time-limited events than actual gameplay or content. Why am I still playing this? Stockholm Syndrome? Lack of fulfilment elsewhere in life? Desperately chasing dopamine like a lab rat with a car battery wired to its genitals? Who knows. I still like winning races online when I steal a place with a well-timed powerup at the line. That doesn't get old no matter the game.
 

Andrei79

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Jan 25, 2013
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I know you weren't reviewing FF7 but I haven't even played 7 at all, original or remake. A friend of mine who is a big fan of 7 played the remake and couldn't even finish it because of how long and meaningless a lot of the new side stuff is. From what I recall, he was saying there was a lot of side content they forced you to do that was just completely meaningless, they just wanted to artificially make the game last longer.

Someday, I'll play FF7. But I got a feeling it'll just end up being the original version and not the remake.

Been playing super Metroid lately and it's crazy how little, if any fluff there is. Every room has a purpose and you constantly get upgrades. Forgot how straightforward SNES games were. I tried the FFVII remake but everything about it pissed me off. No interest in playing an emo, or interacting with characters written to be idiots, or all the meaningless fluff. The combat is not my cup of tea either. The original is still superior to me. Even the art style is more interesting.
 
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Voodoo Child

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Jun 16, 2009
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FF9 does get lost and it has some good ideas. I liked getting your spells and moves through the equipment and I loved the dungeon that reverses the power of your weapons so the dinky dagger you get in the beginning of game is the strongest in there. I thought the CGI was great with that one with the summon being the best (don't want to spoil a 25 year old game for someone lol)

Really only the weak part of the game is that place in disc two where the party gets split for a long period. You get them back and you’re 12-15 levels above them, another thing the alleged remake could fix - keep them within 5 no matter. I know ‘muh casualization!’ - it’s a mainline entry in one of the best known media series in the world and already isn’t too hard.

Outer Continent with the Iifa Tree and another awesome cutscene? Awesome.

Desert Palace, Oeilvert, Gulug and Ipsen’s Castle? Awesome.

Terra - pretty cool but made awesome by that scene I mentioned (the music alone).

And Memoria? Perhaps the most awesome.

Way behind the curve but I’m gonna download Persona 5: Royal, which by all I read about it sounds both awesome and straight up my alley.
 
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pistolpete11

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Apr 27, 2013
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God of War: Ragnarok - 8.5/10

Graphics, animations, writing, acting, and music are all top notch. Compared to the 2018 game, the combat is vastly improved IMO. More weapon options from the start and most importantly wider enemy variety. I think they accomplished exactly what they set out to do, it was an objectively much better game than the 2018 game, and it was a very deserving GOTY contender.

Being a sequel, a lot of the same complaints about the first game are still here. At the time when I played the 2018 game, I was new to gaming so I didn't realize them, but after playing so many other games, it did effect my enjoyment of this one a bit....The camera is too close for a game with swarms of enemies like this....The cut scenes were at times a little too long, there were a lot of walk and talk segments, and climbing is still boring as hell....I don't like the healing system. It really breaks the flow of combat to run around looking for the healing items on the ground....I'd guess probably like 50% of the damage I took was from being locked into an animation that I couldn't cancel....I don't like the checkpoints in boss fights. It makes it so there's no penalty for dying and actually, it might even be beneficial because when you restart your health is full and all of your runic attacks are fully charged. I know not every game needs to be a soulslike, but it made the bosses very easy even on the Show Me No Mercy difficulty. It takes away the sense of accomplishment of beating the boss.

This game has a TON of optional content. I was about to go into the final battle and most the of the realms were like 0-25% completed. I did a little bit of it because I was having fun, but I still left most of them only 0-50%. Granted I don't know shit about game development or the business side of things, but I'd much rather pay like $50 for a game half the size and get a new one from the studio every 2 years instead of paying $70 for a game this size and not get a new one for 4 years. I dunno. Maybe enough stuff is copy and paste that it doesn't take that much time or effort to pad the game with more shit to do for completionists.

It definitely feels like an Atreus spin off game is coming a la Miles Morales. Could be interesting. I don't know where they go with Kratos. It seems like maybe that should be the end for him. I, for one, am a big fan of studios creating new IP and not falling into the never ending sequel thing, but money typically speaks and Kratos is a cash cow. So if they are going to continue Kratos' story, where will they go? Japan is obviously rich with mythology, but I can't see an America studio doing that. I've seen Egypt suggested a lot. Chinese? I'd like to see something completely new. Native American, Indian, Celtic. I could also see going back to Greece to right his wrongs, but I didn't play the original trilogy, so I don't know if that's at all feasible.
 

Ceremony

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Jun 8, 2012
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LEGO® 2K Drive_20231213200733.jpg

Lego 2K Drive (PS4. 2023)

I remember when the PlayStation 2 came out. I got it for Christmas. I got four games. All PS1 games. Two I don't remember offhand. One was Porsche Challenge, which was effectively just an advert for the Porsche Boxter. The other was Lego Racers, a game adequately described by its title and something that was pretty much perfect for a young boy who was really into Lego and racing games. Then came Lego Racers 2. Then came Drome Racers, and all of the real life sets to go along with it. I still have fond memories of all of these, and I still have my copy of the original.

Imagine my excitement a few months ago when, seemingly out of nowhere, Lego 2K Drive was announced. The first Lego racing game in over twenty years? Yes please. And it looks fun! All nice and bright colours and wacky personalities and everything you get in a Lego game nowadays. And there's your problem. Outwith the driving games I've listed the only Lego games I've ever played are the original Star Wars games and The Lego Ninjago Movie Video Game. I still remember Star Wars, a bit odd, a bit quirky, suitably childish because it's Lego and it's Star Wars and because the characters make suggestive noises instead of speaking. I cared less for The Lego Ninjago Movie Video Game. Constant self-referential humour, an endless cacophony of noise, colour and far too much happening on screen with no way of following the plot or any of the endless parade of unbearable 'characters'.

Anyway, sorry, enough about some other game, what's 2K Drive like? Constant self-referential humour, an endless cacophony of noise, colour and far too much happening on screen with no way of following the plot or any of the endless parade of unbearable 'characters'. Ah. Oh dear.

First things first, this game is just not enjoyable to play. I usually think a game can be saved by its gameplay or its story if it's lacking in other areas. A racing game is easy to salvage if it's fun. 2K Drive constantly feels like something that just never received any refinement. There are three types of vehicle you can drive - street, off-road and boat. It's an open world game so you pick one for each class and switch automatically when you're on each different surface. This can often happen so quickly you don't really feel like you're in control of what's happening, and the dramatic handling shift from surface to surface doesn't help. It's good because there's a decent amount of variety in what you're driving on, but in races and just exploring I often found myself wanting them to be better separated.

The game makes use of a drifting mechanic. Unlike most other arcade racers I've played where you tap the brake to turn and start drifting, in 2K Drive you have to hold the brake. This is fine, assuming you're already going full speed. If not you'll have to let go and start the drift again and keep fiddling with it until you're either past the corner or, more likely, you've overshot it entirely, gone off road, then started sliding more than you want because there's so much less grip off road. You have to do this because, oddly, holding on to the brakes slows the car down, so if you don't time it right you'll start losing speed. The whole experience just feels awkward, and in a driving game that's about as big a mistake as you can make.

There's a boost mechanic and powerups too. Boosting is weird. It feels like the things on screen around the car move faster but the car doesn't change at all. In fact this is a recurring problem. As you win races and complete events you level up, and as your level increases so does your vehicles' overall ability (each vehicle has its own strengths and weaknesses besides this). But from level 1 to level 30 I noticed very little difference in handling or performance at all. It was as much of a struggle to begin with as it was at the end. And no matter what I did, I would always run out of boost in a race right when I needed it.

Weapons are a pain too. Cars are destructible, with bits flying off when they take hits, eventually respawning if they're destroyed. The problem is a race usually lasts 2-3 minutes, and at the rate the AI jumps or dodges your weapons you're barely going to gain an advantage. The best weapon attaches two canisters of fruit to your car and fires ahead of you for a good amount of seconds, but then the canisters block most of the track and your surroundings so you can't see where you're going. Driving is awkward, weapons range from ineffective to a hindrance as much as a help, and the environment often gets in the way too.

Fortunately the AI are... pointless. You've heard of rubber banding. You've heard of chasing the rabbit. 2K Drive manages to do both. The entire thing might as well be scripted. In fact it probably is. No matter the race length, no matter your level, or the difficulty rank (each of the 24 races has three different difficulties - you play a certain one as default as you progress through the story, and can go back later), you will start at the back, gradually work your way up, and only ever compete for the win on the last lap or final few corners. I found it quite stressful the first few times until I realised the first 90% of the race didn't matter at all. If this is an attempt to make the game more child-friendly, it's a bad thing. They need to learn, and they learn by spending hours trying to beat Basil the Batlord without any friends or big brothers to help them.

Outside of races there are actually lots of things to do. The game is split up into three distinct areas. Each has a range of collectibles and things to find by exploring. There are also lots of 'On-the-Go' events, miscellaneous challenges with a time limit to beat. The variety here is huge and one of the game's few strengths. The thresholds for a gold medal on these can be surprisingly harsh, especially on drift events, but there's a lot to do and they really play into what sense of world building the game has.

On a technical level, I'm torn. I played the PS4 version of 2K Drive and it's often quite ugly. Like Lego games nowadays everything except buildings and the environment is destructible. I'd guess the sheer volume of objects plays into performance which is understandable, but you move around so quickly the blurred edges of your car and the things you hit are noticeable. That said, the game's long loading times include the entire world you travel to, and you can drive around at full speed without ever hitting any stutters or problems. My PS4 was also silent throughout, so there's something technically impressive happening here. The worlds are also very bright and as much detail and attention has gone into them as there is in your average Legoland exhibit, so there's some good and some bad.

As I've been typing this I've been watching a longplay of the original Lego Racers on youtube. Aside from the obvious nostalgia hit from the introduction and the music I'm mainly wondering what this framerate is. I'm not sure it's getting above 20. Aside from that, the first menu option is "Build." You create your racer and build your first car. I've tried not to compare 2K Drive to any other games but here I'm really going to lament the missed opportunity. It's Lego. If you're a child playing this, you have or have played with Lego. If you're an adult playing it like me you probably just wish you were a child playing with Lego. The idea of extending that to a virtual world where there are no parents or things like money to limit the amount of bricks you have is a dream.

2K Drive has an extensive builder system with a seemingly endless amount of bricks you can use, with lots more to unlock as you progress. It has an extensive, if annoyingly voiced, tutorial about how to get the best out of it. And after you spend an hour putting together your basic little car with some wedges at the front, a wing at the back and some of those grill bits to make it look like an engine you'll start playing and unlock a car shaped like a chicken that you'd need about a month and two university degrees before you could think about trying to build it yourself. Oh and all the vehicles you unlock or can buy from the stores or download from people who've been here first and are smarter than you all have stat boosts too which means if you want to drift, or you want to be fast enough to actually win a race, your painstaking labour of love will be forgotten about immediately.

The basic problem with 2K Drive's creation aspect goes back to my comparison between Star Wars and Ninjago. There's too much. I remember getting The Sims 2 on PC because I liked it so much on PS2. But when I played it I was overwhelmed by the amount of extra content and detail in it. The same goes here. Not only is there too much choice and variety on offer for me to make my own car I can be proud of and be attached to, there's pre-built stuff available in-game which looks cooler and goes faster. Maybe there is enjoyment to be had here if I had the time or patience or mental capacity, but I get the feeling I'd just wish I was playing with real Lego instead. The back of the case says "Build and customise brick by brick!" and the picture to go with it looks like some sort of twin-drilled mining vehicle and there's just no way I'm getting near that.

While the game's areas are easy to navigate and filled with detail, there's a lot lacking too. Areas where there is Lego are great. There are buildings and characters and it's all very vibrant and engaging. I go back to the Legoland comparison - it's just exciting to see that much Lego built into things that look cool. The problem is that these actually take up very little space. The whole world isn't made of Lego. It's natural surroundings - water, land, rocks, mountains - with bits of Lego dotted on them here and there. And because of how quickly you can drive you can blast through an entire town or city in about five seconds without actually noticing anything. For all the detail in these areas it almost seems like you need to make a concerted effort to take any of it in. When you do that, you realise just how superficial and shallow it all is. I can still remember Sandy Bay in Lego Racers 2 with its four buildings, or the bases on Mars. I barely remember the names of the three places in 2K Drive. Like the sense of scale which ruins the fun of creation, the world itself just seems fleeting and almost redundant because of how small it really is.

My final problem - and I promise this is my final problem, because I'm boring myself right now, is the characterisation. That characterisation exists at all. I've already said there's virtually no point in creating a driver or creating a car. I'm going to go back to Lego Racers again. The intro movie sets things up nicely. You see Rocket Racer, the guy on the box, winning a race and being crowned champion. He's mean to his pit crew and he cheats, so he's the bad guy. You see some mild slapstick comedy along the way. Nobody speaks. There's the odd bit of facial movement. There are a few bosses you beat in championships along the way before taking on the big man himself and winning, bringing justice to the world. The childish joy of transplanting your own personality and characterisation onto the silent figures is the same simple joy that's made Lego so popular. You can build what you want, and you can make them do what you want. Anything else is irrelevant.

Sadly, if you're reading this you've probably seen the picture I opened with. A screenshot of the head bad guy saying something about jaded Gen-X references nobody gets. And therein lies the problem. There are a lot of characters in this game. There are 24 races dotted around. Each has their own racer you need to listen to, and beat, and each race is themed around them somehow. This is mildly amusing the first couple of times, but when you're done you just forget about them. There's a main guy with a racing team you come back to every now and then and isn't it hilarious, he has an unruly dog! Haha, woof woof, am I right? I'd actually be curious to see the ratio of time spent listening to characters talking or reading their intro messages to total time spent doing the game's core races. I think it would be quite a bit closer than you'd want to believe.

I'm thinking about it now and I don't think I can honestly say I enjoyed any part of 2K Drive. It's not fun to play, it's not rewarding to build, it's not inviting to explore and other features like online racing (getting dropped in mid-race is great) or the game's apparently compulsory battle pass and multiple currency microtransactions just seem an inevitably hollow reminder of why games like this are made nowadays. 2K Drive was released in May 2023. I bought it in a Black Friday sale, and the following week it was announced as one of December's free PlayStation Plus games. Despite everything I've said I don't mind this because it was still cheap and I still wanted to play it, but after the time I spent with it I can really see why.

How can I play Lego Racers 2 again, and in perpetuity?
 

pistolpete11

Registered User
Apr 27, 2013
12,020
11,059
Disco Elysium - 6.5/10

Part of this is on me. 1) Gameplay is the most important part of games to me and Disco Elysium doesn't have any gameplay. I knew that going in, but went into it wanting to like it. 2) I didn't really engage with the RPG aspects enough to understand them. 3) I took it too seriously. It's evident from the vary beginning there is humor in the game, but I was trying to solve the murder. The best parts were when something went wrong and the result was kind of silly.

The first in-game day or 2 was a lot of fun. You wake up in a hotel with the worst hangover of all time. You don't know where you are, why you're there, that you're a cop, or even your own name. You go around talking to people to start slowly piecing things together. You're psyche talks to you and will change depending on your build. The art style is cool. The dialogue is well written, there's an edge to it, there's humor to it, there's mystery to it. The characters are all distinct, albeit some a little too over the top. I never played a game quite like this, so it was all very interesting.

After that, things started going downhill for me. You eventually open a new area with new characters and stories. However, while the characters and stories from the first few days all seem directly related to the murder you're trying to solve, these all seemed random. They are OK little side stories in their own way, but it just felt disjointed to me and it started feeling like fetch quests.

The skills were needlessly difficult to understand. There's 24 of them and half of them it's unclear what they do. If you put too much into one of them, your psyche will start overloading you with worthless information that becomes a nuisance or misleads you, which was interesting. But since I didn't really understand it, I just saved my skill points and then put them into whatever I needed in order to re-roll a challenge.

And while they don't hold your hand in the skills, they pretty much tell you how to do everything else in the game. The tasks more or less tell you where to go or who to talk to or whatever. So there's not really any problem solving either.

One thing I found disappointing is the game gives you a facade of choice. Depending on your build and which options you choose, you'll get different dialogue and whatnot, but if you say the wrong thing, the other character just kind of corrects you and puts you back on the path the game predetermined. I looked it up after and I think no matter what, every player gets to the same climax and the ending is more or less the same.

The MOST disappointing thing, though, is the ending. Turns out that the killer was somebody that you don't know exists in an area that you can't access until you basically finish the game by a guy with a pretty flimsy motive. As far as I'm aware, there's no way to figure it out beforehand. So really, the choices you make don't matter, there's not really anything to figure out, and there's not any problem solving throughout.

Even though I didn't like it as much as I was hoping, I'm glad I played it. It's the first game I've played like this and I like experiencing new styles of games. Can't say I'll ever play it again or something similar again, but it was an experience.
 
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Andrei79

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Jan 25, 2013
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Disco Elysium - 6.5/10

Part of this is on me. 1) Gameplay is the most important part of games to me and Disco Elysium doesn't have any gameplay. I knew that going in, but went into it wanting to like it. 2) I didn't really engage with the RPG aspects enough to understand them. 3) I took it too seriously. It's evident from the vary beginning there is humor in the game, but I was trying to solve the murder. The best parts were when something went wrong and the result was kind of silly.

The first in-game day or 2 was a lot of fun. You wake up in a hotel with the worst hangover of all time. You don't know where you are, why you're there, that you're a cop, or even your own name. You go around talking to people to start slowly piecing things together. You're psyche talks to you and will change depending on your build. The art style is cool. The dialogue is well written, there's an edge to it, there's humor to it, there's mystery to it. The characters are all distinct, albeit some a little too over the top. I never played a game quite like this, so it was all very interesting.

After that, things started going downhill for me. You eventually open a new area with new characters and stories. However, while the characters and stories from the first few days all seem directly related to the murder you're trying to solve, these all seemed random. They are OK little side stories in their own way, but it just felt disjointed to me and it started feeling like fetch quests.

The skills were needlessly difficult to understand. There's 24 of them and half of them it's unclear what they do. If you put too much into one of them, your psyche will start overloading you with worthless information that becomes a nuisance or misleads you, which was interesting. But since I didn't really understand it, I just saved my skill points and then put them into whatever I needed in order to re-roll a challenge.

And while they don't hold your hand in the skills, they pretty much tell you how to do everything else in the game. The tasks more or less tell you where to go or who to talk to or whatever. So there's not really any problem solving either.

One thing I found disappointing is the game gives you a facade of choice. Depending on your build and which options you choose, you'll get different dialogue and whatnot, but if you say the wrong thing, the other character just kind of corrects you and puts you back on the path the game predetermined. I looked it up after and I think no matter what, every player gets to the same climax and the ending is more or less the same.

The MOST disappointing thing, though, is the ending. Turns out that the killer was somebody that you don't know exists in an area that you can't access until you basically finish the game by a guy with a pretty flimsy motive. As far as I'm aware, there's no way to figure it out beforehand. So really, the choices you make don't matter, there's not really anything to figure out, and there's not any problem solving throughout.

Even though I didn't like it as much as I was hoping, I'm glad I played it. It's the first game I've played like this and I like experiencing new styles of games. Can't say I'll ever play it again or something similar again, but it was an experience.

The game isn't a murder mystery though. That part is just a vehicule for the real themes which are identity, narcissism and bereavment. You're playing to discover characters and their relationship. That's why the biggest decisions won't have an impact on who was the murderer, but on what happens with Kim, for example. I also thought having pretty much a nobody as a murderer was great. He was a good mirror for our character, the importance of moving on and letting go of our self importance, even as a victim of external circumstances.
 

pistolpete11

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Apr 27, 2013
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The game isn't a murder mystery though. That part is just a vehicule for the real themes which are identity, narcissism and bereavment. You're playing to discover characters and their relationship. That's why the biggest decisions won't have an impact on who was the murderer, but on what happens with Kim, for example. I also thought having pretty much a nobody as a murderer was great. He was a good mirror for our character, the importance of moving on and letting go of our self importance, even as a victim of external circumstances.
I don't see why the same themes and character development couldn't be tied into a game where you have to figure out who the murderer is :dunno: Or a game where your choices affect the story :dunno:
 

Andrei79

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Jan 25, 2013
16,520
30,708
I don't see why the same themes and character development couldn't be tied into a game where you have to figure out who the murderer is :dunno: Or a game where your choices affect the story :dunno:

I thought that's what they were trying to do though, solving who you are while ending up being confronted with another broken nobody, resentful, forgetful and full of rage, who killed someone who was intimate while your own character couldnt let go of his ex. I don't know, it just felt pretty deliberately written like that, so that your actions will determine whether Harry ends up alone or not (through Kim). The journey there is where there are a lot of different ways to play.
 

pistolpete11

Registered User
Apr 27, 2013
12,020
11,059
I thought that's what they were trying to do though, solving who you are while ending up being confronted with another broken nobody, resentful, forgetful and full of rage, who killed someone who was intimate while your own character couldnt let go of his ex. I don't know, it just felt pretty deliberately written like that, so that your actions will determine whether Harry ends up alone or not (through Kim). The journey there is where there are a lot of different ways to play.
I wouldn't say you 'solve' anything. The game gives you a list of tasks to complete and when and how to complete them. As I said in my initial post, there's really no problem solving to speak of. I would say 'learn' is a better word for what you do.

Again as I said in my initial post, there are a lot of different ways to play, but it's all a facade because you end up in the same place no matter what. Maybe it slightly alters your options towards the very end, but the story for the most part just keeps rolling along.

The looking in the mirror aspect of when you find the killer is all well and good, but again, that part is not mutually exclusive to the things I'm talking about.

It's just not what I was expecting. I was expecting to have to solve puzzles or for it to be a choose your own adventure with a bunch of different outcomes (something like Detroit: Become Human) and it wasn't. If I knew what it was going in, I probably just wouldn't have played it.

But if you liked it, that's cool. I'm not trying to talk you out of it. It's just my opinion. The game has received pretty much universal praise, so I'm clearly in the minority. I gave it a 6.5, too, so it's not like I'm saying it's without merit.
 

Andrei79

Registered User
Jan 25, 2013
16,520
30,708
I wouldn't say you 'solve' anything. The game gives you a list of tasks to complete and when and how to complete them. As I said in my initial post, there's really no problem solving to speak of. I would say 'learn' is a better word for what you do.

Again as I said in my initial post, there are a lot of different ways to play, but it's all a facade because you end up in the same place no matter what. Maybe it slightly alters your options towards the very end, but the story for the most part just keeps rolling along.

The looking in the mirror aspect of when you find the killer is all well and good, but again, that part is not mutually exclusive to the things I'm talking about.

It's just not what I was expecting. I was expecting to have to solve puzzles or for it to be a choose your own adventure with a bunch of different outcomes (something like Detroit: Become Human) and it wasn't. If I knew what it was going in, I probably just wouldn't have played it.

But if you liked it, that's cool. I'm not trying to talk you out of it. It's just my opinion. The game has received pretty much universal praise, so I'm clearly in the minority. I gave it a 6.5, too, so it's not like I'm saying it's without merit.

Oh I'm not trying to convince you of anything lol. I just never thought the game pushed the "who is the murderer" part, but moreso the "who is Harry", with the roleplaying and relationships associated. It's definitely not a traditional game though and I could see someone this a 4 or 5 and have legit reasons. It's more of a book or interactive movie. Some would even say a point and click adventure. I just like to talk about that games themes, for any reason at all. Games usually don't have very good writing, or themes, even the better ones. Not like this anyways.
 
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Ceremony

How I choose to feel is how I am
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Shadow of the Tomb Raider (PS4, 2018)

Shadow of the Tomb Raider begins, as many AAA games do nowadays, with an on-screen message declaring that the game was made by a diverse team of people of many genders, ethnicities, backgrounds and sexual orientations. I think the first time I saw this in a game was Mafia III. In a game set in the American deep south in the 60s where you play a black man, a message saying "there is racism in this game and racism is bad" is at best, patronising. What, then, could Shadow of the Tomb Raider possibly be apologising for in advance?

The Tomb Raider formula isn't altered much here. You play Lara Croft, one of the few video game characters ubiquitous enough to exist with little in the way of introduction or development. The game picks straight up from where Rise of the Tomb Raider left off. Off the top of my head I remember finishing that and not having the slightest recollection of anything that happened. Shadow goes one step further, as I had almost no interest in what was happening the entire time I was playing. Lara finds a dagger in a temple in Peru. Then she sees a mural carved into a wall that tells her to go somewhere. She and her sole remaining friend in the world (the last one she hasn't got killed) head off to find it, and so does a guy called Dominguez who is bad and shouldn't get it because he'll do bad things with it.

The story and characterisation in this game are extremely bad, but as I think about it, every area of this game is lacking in the same way. Do we learn anything about Lara? Not really. She was an annoying, extremely privileged child. She goes Rambo mode at one point. She cares so much and just feels like she lets people down. Do we know anything about the bad guys? "We can reshape the world." Oh can you, okay. Do we learn anything about the extremely forgettable extras we meet along the way? Not really. Nothing of the story and nothing of the characters will live long in the memory.

Does the gameplay compensate for this? No. Standard third person runny jumpy climby affair, although in arguably the most impressive turn of events the third game in a trilogy manages to have the absolute core gameplay mechanic be vague at best and outright broken at worst. Trying to shoot an enemy? Better pick a gun with good damage because you're only hitting on ten percent of your shots. Combat is limited compared to the previous two games and there's a focus on stealth, but this is clunky and let down by how awkward it is to move Lara around. Eventually you'll unlock arrows that turn enemies against one another and it becomes a foregone conclusion anyway.

Platforming is even more infuriatingly imprecise. When you're climbing along a wall and trying to jump to another section it's often a lottery whether or not Lara will actually attach. This quirk was at its most irritating during my playthough on the hardest, stingiest with checkpoints, difficulty. I jumped, Lara got stuck on the side of a cliff and couldn't move, I then had another twenty minutes of platforming and swimming to redo. And while I'm here, how can she climb sheer cliffs, or even overhanging cliffs, while wearing sandals?

While things like that are irritating, it's not as immersion breaking as the times Lara has to jump or swing to a ledge. Good platforming is centred around an instinctive understanding of how the player character interacts with environmental elements. The player understands how the character moves, jumps and climbs. The player understands how to interact with different surfaces and objects. Every now and then in Shadow you'll be going along a (completely linear) path and come to a stop. You'll see a ledge or another bit of rock or something that's definitely too far away. Lara can't jump there, that can't be where you're supposed to go. So you look around for a bit and wonder if you're missing something. If you're on the easy difficulty you press R3 and a big glowing thing tells you that yes that is the way you're supposed to go.

So you take the leap of faith that's definitely too far for Lara to reach. Several extra frames appear during her jump and she sort of floats in mid-air until she reaches wherever she's going. It's like Wile E Coyote jumping off a cliff. Considering one of the game's central premises is about what Lara does to survive when faced with a private military contractor that's slaughtering hundreds of people to try and find the same hidden treasure she is, the fact that she reaches these pivotal moments by effectively floating through the air undermine this somewhat.

The game is largely linear, although there are three main areas where you can explore a bit and do some side-missions. Each of these is basically pointless. The people inhabiting them are irrelevant to anything that's going on. Trying to navigate them is also a nightmare, the main area of Paititi is particularly bad for the Borderlands problem of having areas built on top of other areas with an in-game map which doesn't differentiate between them. And you don't have a mini-map, so you have to bring up the menu every ten seconds to make sure you're going in the right direction. Things get worse if you're actually looking for something like a collectible, you can be standing on top of one and not realise.

There's a greater focus on the raiding tombs aspect of the series here compared to the previous two games, but I don't think it works very well. These sections effectively see the game switch from platforming to timed platforming. There isn't much in the way of puzzles, and I'll let you imagine what a game with less than fluid platforming becomes when you need to time jumps to avoid being crushed or stabbed or burned or drowned. The greater focus on these sections is at the expense of combat, but both parts of the game are so unremarkable there's not really any occasion to favour one over the other.

The game isn't very good from a technical standpoint either. Playing on PS4 Pro with the HDR on and performance mode activated turned my console into a jet engine. Realising I could prioritise frame rate and turn the brightness down turned my console into a jet engine going ten miles an hour slower. I don't know where all the performance goes either, the game only exists in green, brown and grey and everything looks exactly the same. It's not loading times either, you constantly run into those tight squeeze sections that only exist to waste some time. Actually there are some sections which are thick mud instead of a small gap, but the point stands.

Come to think of it, I lied. Despite these various tight squeezes you can still hit a loading screen if you go quickly enough. And this brings me on to the most disagreeable part of Shadow - the amount of times Lara gets stuck somewhere in apparent mortal peril. I tried to keep track but lost count of the amount of times she's underwater and ends up having to struggle through a small gap in the rocks, where you have to spam a button to push or climb through. Where you hear her making muffled straining noises. It's not only underwater either, there's one part where you're in a temple used for human sacrifices and she has to climb what seems to be a waste chute filled with blood, limbs and other gore. Same format applies. This happens so often I honestly started thinking it was a poorly disguised fetish from someone involved in development. Someone who just liked watching Lara get stuck somewhere. I'm not claustrophobic but I've had dreams where I get stuck in the kind of spots Lara goes through where I can't move. I don't know why it happens so often here.

Come to think of it, I lied again. The most disagreeable part of Shadow of the Tomb Raider is the sheer scale of it. There is absolutely nothing remarkable about this game. Combat, platforming, performance, characterisation, plot, it's all pointless. I can't imagine a world where this is anyone's favourite video game. It just feels like a solid lump of stuff, with no more specific detail than that. "Would sir like a video game? Certainly sir, how much video game would sir like? Ten hours? Here you are, I'll get it wrapped up for you."

So a modern AAA video game is a bit bland. This isn't unique or new. What is unique however is something I discovered once I'd finished. According to Wikipedia, this is the tenth most expensive video game ever. At least for games that have actually released. It seems like this cost over one hundred million dollars to make. I don't know how much of that went into development or how much into marketing, but just let that actually sink in. One hundred million dollars. On the third game of a trilogy, so surely the basic framework for it existed already. And what do they have to show for it? The most uninspiring, unremarkable, boring, pointless game imaginable.

Remarkably, having finished the PS3 versions of the first Tomb Raider, then both Rise and Shadow, Tomb Raider is now my second-most played series in the post-2008 PlayStation trophies era. Lara Croft is an enduring, beloved, original video game character and my experience with her has ranged from generic to aggressively forgettable. Perhaps there's a message in all of this. All I know is I'm glad I'm done.
 
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SimGrindcore

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Shadow of the Tomb Raider (PS4, 2018)

Shadow of the Tomb Raider begins, as many AAA games do nowadays, with an on-screen message declaring that the game was made by a diverse team of people of many genders, ethnicities, backgrounds and sexual orientations. I think the first time I saw this in a game was Mafia III. In a game set in the American deep south in the 60s where you play a black man, a message saying "there is racism in this game and racism is bad" is at best, patronising. What, then, could Shadow of the Tomb Raider possibly be apologising for in advance?

The Tomb Raider formula isn't altered much here. You play Lara Croft, one of the few video game characters ubiquitous enough to exist with little in the way of introduction or development. The game picks straight up from where Rise of the Tomb Raider left off. Off the top of my head I remember finishing that and not having the slightest recollection of anything that happened. Shadow goes one step further, as I had almost no interest in what was happening the entire time I was playing. Lara finds a dagger in a temple in Peru. Then she sees a mural carved into a wall that tells her to go somewhere. She and her sole remaining friend in the world (the last one she hasn't got killed) head off to find it, and so does a guy called Dominguez who is bad and shouldn't get it because he'll do bad things with it.

The story and characterisation in this game are extremely bad, but as I think about it, every area of this game is lacking in the same way. Do we learn anything about Lara? Not really. She was an annoying, extremely privileged child. She goes Rambo mode at one point. She cares so much and just feels like she lets people down. Do we know anything about the bad guys? "We can reshape the world." Oh can you, okay. Do we learn anything about the extremely forgettable extras we meet along the way? Not really. Nothing of the story and nothing of the characters will live long in the memory.

Does the gameplay compensate for this? No. Standard third person runny jumpy climby affair, although in arguably the most impressive turn of events the third game in a trilogy manages to have the absolute core gameplay mechanic be vague at best and outright broken at worst. Trying to shoot an enemy? Better pick a gun with good damage because you're only hitting on ten percent of your shots. Combat is limited compared to the previous two games and there's a focus on stealth, but this is clunky and let down by how awkward it is to move Lara around. Eventually you'll unlock arrows that turn enemies against one another and it becomes a foregone conclusion anyway.

Platforming is even more infuriatingly imprecise. When you're climbing along a wall and trying to jump to another section it's often a lottery whether or not Lara will actually attach. This quirk was at its most irritating during my playthough on the hardest, stingiest with checkpoints, difficulty. I jumped, Lara got stuck on the side of a cliff and couldn't move, I then had another twenty minutes of platforming and swimming to redo. And while I'm here, how can she climb sheer cliffs, or even overhanging cliffs, while wearing sandals?

While things like that are irritating, it's not as immersion breaking as the times Lara has to jump or swing to a ledge. Good platforming is centred around an instinctive understanding of how the player character interacts with environmental elements. The player understands how the character moves, jumps and climbs. The player understands how to interact with different surfaces and objects. Every now and then in Shadow you'll be going along a (completely linear) path and come to a stop. You'll see a ledge or another bit of rock or something that's definitely too far away. Lara can't jump there, that can't be where you're supposed to go. So you look around for a bit and wonder if you're missing something. If you're on the easy difficulty you press R3 and a big glowing thing tells you that yes that is the way you're supposed to go.

So you take the leap of faith that's definitely too far for Lara to reach. Several extra frames appear during her jump and she sort of floats in mid-air until she reaches wherever she's going. It's like Wile E Coyote jumping off a cliff. Considering one of the game's central premises is about what Lara does to survive when faced with a private military contractor that's slaughtering hundreds of people to try and find the same hidden treasure she is, the fact that she reaches these pivotal moments by effectively floating through the air undermine this somewhat.

The game is largely linear, although there are three main areas where you can explore a bit and do some side-missions. Each of these is basically pointless. The people inhabiting them are irrelevant to anything that's going on. Trying to navigate them is also a nightmare, the main area of Paititi is particularly bad for the Borderlands problem of having areas built on top of other areas with an in-game map which doesn't differentiate between them. And you don't have a mini-map, so you have to bring up the menu every ten seconds to make sure you're going in the right direction. Things get worse if you're actually looking for something like a collectible, you can be standing on top of one and not realise.

There's a greater focus on the raiding tombs aspect of the series here compared to the previous two games, but I don't think it works very well. These sections effectively see the game switch from platforming to timed platforming. There isn't much in the way of puzzles, and I'll let you imagine what a game with less than fluid platforming becomes when you need to time jumps to avoid being crushed or stabbed or burned or drowned. The greater focus on these sections is at the expense of combat, but both parts of the game are so unremarkable there's not really any occasion to favour one over the other.

The game isn't very good from a technical standpoint either. Playing on PS4 Pro with the HDR on and performance mode activated turned my console into a jet engine. Realising I could prioritise frame rate and turn the brightness down turned my console into a jet engine going ten miles an hour slower. I don't know where all the performance goes either, the game only exists in green, brown and grey and everything looks exactly the same. It's not loading times either, you constantly run into those tight squeeze sections that only exist to waste some time. Actually there are some sections which are thick mud instead of a small gap, but the point stands.

Come to think of it, I lied. Despite these various tight squeezes you can still hit a loading screen if you go quickly enough. And this brings me on to the most disagreeable part of Shadow - the amount of times Lara gets stuck somewhere in apparent mortal peril. I tried to keep track but lost count of the amount of times she's underwater and ends up having to struggle through a small gap in the rocks, where you have to spam a button to push or climb through. Where you hear her making muffled straining noises. It's not only underwater either, there's one part where you're in a temple used for human sacrifices and she has to climb what seems to be a waste chute filled with blood, limbs and other gore. Same format applies. This happens so often I honestly started thinking it was a poorly disguised fetish from someone involved in development. Someone who just liked watching Lara get stuck somewhere. I'm not claustrophobic but I've had dreams where I get stuck in the kind of spots Lara goes through where I can't move. I don't know why it happens so often here.

Come to think of it, I lied again. The most disagreeable part of Shadow of the Tomb Raider is the sheer scale of it. There is absolutely nothing remarkable about this game. Combat, platforming, performance, characterisation, plot, it's all pointless. I can't imagine a world where this is anyone's favourite video game. It just feels like a solid lump of stuff, with no more specific detail than that. "Would sir like a video game? Certainly sir, how much video game would sir like? Ten hours? Here you are, I'll get it wrapped up for you."

So a modern AAA video game is a bit bland. This isn't unique or new. What is unique however is something I discovered once I'd finished. According to Wikipedia, this is the tenth most expensive video game ever. At least for games that have actually released. It seems like this cost over one hundred million dollars to make. I don't know how much of that went into development or how much into marketing, but just let that actually sink in. One hundred million dollars. On the third game of a trilogy, so surely the basic framework for it existed already. And what do they have to show for it? The most uninspiring, unremarkable, boring, pointless game imaginable.

Remarkably, having finished the PS3 versions of the first Tomb Raider, then both Rise and Shadow, Tomb Raider is now my second-most played series in the post-2008 PlayStation trophies era. Lara Croft is an enduring, beloved, original video game character and my experience with her has ranged from generic to aggressively forgettable. Perhaps there's a message in all of this. All I know is I'm glad I'm done.
I enjoyed Tomb Raider, then I enjoyed ROTTR even more. I'm afraid of SOTTR after reading this :eek3:
 

pistolpete11

Registered User
Apr 27, 2013
12,020
11,059
Metro : Last Light - 7/10

From a 1000ft view, this game was identical to Metro 2033. So you could copy and past my review of that into here :laugh:.

The only things that really stood out to be different for me,

1) seemed to have more levels that required stealth

2) there were a couple of times I had to replay previous levels because I was running out of filters and/or ammo. I think I might have done that once in 2033?

3) Towards the very end, there's a section where you are taking on a lot of fire and you have to shoot something that glows red. The glowing wasn't very obvious, you're taking on too much fire to stand there looking around, and it's the first time that something like that is required in the game and it's at the very end. Kind of strange and frustrating.
 

Frankie Spankie

Registered User
Feb 22, 2009
12,433
443
Dorchester, MA
Baldur's Gate 3 - 10/10
This is genuinely one of the best games ever made and it will hopefully revolutionize the RPG genre and the gaming industry as a whole. There's no "right" choice as you play through the game and you can tell there are so many different branching paths that decisions actually matter. All the characters are so deep and every quest for them feels impactful for the story. I loved weighing my options to do what was best for each character within each moment. If I was on a side quest for one specific character, I would do what they wanted, even if the others didn't approve, because I was there for that character. As a result, I got some really cool cutscenes, made characters even stronger to help my run, and got some interesting scenarios as results to the decisions I made.

The overall arching story is great too. You get the sense that everything is intertwined, something that just isn't present in 99% of the games out there. Every decision you make truly feels like it makes the game a unique experience for you. The way I played through the game could be vastly different from the way you played through it and we saw different stories unfold as a result. At the same time, it all feels all organic that you never feel forced down a set path. Most games with choices often feel like you get the illusion of choice that just leads to the same result but not Baldur's Gate 3. You can accomplish goals on your terms and if you're smart and experienced enough, you can find some very unique methods to solve problems that could make something that appears practically impossible a simple task.

The combat is great. I personally love this style of combat. For those coming from the Divinity: Original Sin series, the combat is fairly different. It goes by DnD rules (which I personally didn't know anything about.) Instead of action points like in Divinity, each character can perform an action, a bonus action, and move a set distance. Personally, I prefer the Divinity style of action points but that's just a matter of preference. It did take some getting used to and early on, I almost felt like I had to relearn the genre since I was so used to action points, but a lot of the core mechanics are similar. Once I started getting used to movement and actions being separate, I picked it up fairly quickly.

The game has been receiving an insane amount of praise and it is 100% deserved. This is what the new standard for RPGs should be. Developers/publishers are saying it's not possible but Larian has proven it is. We'll see how the industry reacts but in the meantime, you need to play this master piece. One thing is for sure, Larian is probably the best game dev out there at the moment. You can tell they truly care for their fans and it shows in the product. I'm glad to see they have found amazing success in this project and I'm excited to see what they have next on the horizon!
 

Summer Rose

Red Like Roses
Sponsor
May 3, 2012
93,276
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Gainesville, Florida
Starfield - 5/10

I've put 240 hours into this space work of art, which is what it is to me. Done everything I think I care to do in the game, including finishing the main storyline on five different characters, the Crimson Fleet missions three times, the Ryujin Industries missions twice, the UC Vanguard missions once, the Freestar Rangers missions twice, and many, many side quests and activities. I also married all for romanceable companions on different characters.

The UC Vanguard missions and the Crimson Fleet missions are awesome, but I didn't find a great deal of fun in the rest of the game. The gameplay and writing are mediocre in my opinion. Mods made the game a lot more playable; if I'd had to play without some of them I'd probably have given up on the game. What I did have the most fun in was building ships. The setting is absolutely beautiful. However, what I did like compared to what I didn't like about the game aren't enough to save it and make me consider it a very good game. I just had a lot of time on my hands this month for personal health reasons.

I'll probably come back to it once the Creation Kit and Shattered Space come out. In the meantime, it was just a lot of hype and wasted potential. Might even reinstall Fallout 4 and play that.

That said, I am planning on buying a console this spring, and this game being so mediocre plus another game I'm really hyped for have firmly cemented my decision to buy a PS5 instead of an Xbox Series X.
 

pistolpete11

Registered User
Apr 27, 2013
12,020
11,059
Starfield - 5/10

I've put 240 hours into this space work of art, which is what it is to me. Done everything I think I care to do in the game, including finishing the main storyline on five different characters, the Crimson Fleet missions three times, the Ryujin Industries missions twice, the UC Vanguard missions once, the Freestar Rangers missions twice, and many, many side quests and activities. I also married all for romanceable companions on different characters.

The UC Vanguard missions and the Crimson Fleet missions are awesome, but I didn't find a great deal of fun in the rest of the game. The gameplay and writing are mediocre in my opinion. Mods made the game a lot more playable; if I'd had to play without some of them I'd probably have given up on the game. What I did have the most fun in was building ships. The setting is absolutely beautiful. However, what I did like compared to what I didn't like about the game aren't enough to save it and make me consider it a very good game. I just had a lot of time on my hands this month for personal health reasons.

I'll probably come back to it once the Creation Kit and Shattered Space come out. In the meantime, it was just a lot of hype and wasted potential. Might even reinstall Fallout 4 and play that.

That said, I am planning on buying a console this spring, and this game being so mediocre plus another game I'm really hyped for have firmly cemented my decision to buy a PS5 instead of an Xbox Series X.
You put 240hr into a 5/10 game?
 
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Summer Rose

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May 3, 2012
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I put in about 100 hours into when FO76 came out. I'd give it a 6/10.

I've been a Bethesda fan since Morrowind. I figure a hundred hours minimum is what I need to rate a Bethesda game properly. Fallout 4 was only a 6/10 for me on launch. Mods and DLC turned it into a 9.

I figure something similar will happen with Starfield.
 

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