Some interesting parts to the story, I guess, but didn't pull me on overall. Some dialogue was unskippable and pain.
Fighting was fun.
No controller support for Android is just unforgivable. Camera control while fighting was nigh impossible with touch controls. With a game so focused on active battle, I'm surprised the mobile version of this game for Android got the green light. Cumbersome at best, unplayable at worst.
Voice acting didn't seem to match the characters...I think the voice acting direction could have been at fault.
Might pick this up again if they ever get android controller support. Maybe.
Fighting was fun.
No controller support for Android is just unforgivable. Camera control while fighting was nigh impossible with touch controls. With a game so focused on active battle, I'm surprised the mobile version of this game for Android got the green light. Cumbersome at best, unplayable at worst.
Voice acting didn't seem to match the characters...I think the voice acting direction could have been at fault.
Might pick this up again if they ever get android controller support. Maybe.
Storytelling incrível
Não tem muito o que falar. As escolhas desse jogo são impecáveis, o final te pega muito
Lots of stuff here to do sadly it's a little unpolished and the grind for the Amon fight is nothing but a chore and the Telephone club sucks Final bosses also are just kinda ok in terms of character
Pretty fun for a free to play Switch game. I’ve been playing it on my Switch Lite and I like how it easy it to boot up and just start playing a few quick matches without feeling like you have to sink in a few hours into it. Just a fun quick and easy arena shooter.
Melhor dlc de todos os tempos
Decent enough but gets repetitive pretty quickly.
Decent but not much value gameplay wise. You can pretty much cheese your way through matches once you have a few decent players.
This review contains spoilers
song at the end added a star.
That ending really was a gut punch, still holds up over 20 years later.
Fun but that difficulty spike is a killer.
is there a feeling worth getting incinerated over?
Joguei isso com meu pai maluco, muito bom
Mario 64 é um jogo muito superestimado, claro que na época o jogo foi Muito foda! Mas hoje em dia ele não é muito bom, a câmera é um lixo podre e horrível mesmo com esse mod incrível de fan a câmera é um bosta natural do jogo.
Believe it or not this is the football game I’ve put the most hours into.
Eu amo a exploração desse jogo, me marcou bastante
This review contains spoilers
It's certainly impossible to deny that Hypnospace Outlaw is unique. I wasn't alive or cognizant enough to remember the internet at the turn of the millennium, so I'll leave the descriptions about that to people who are more knowledgeable, but Hypnospace Outlaw absolutely nails the atmosphere it's going for. It's lovingly made and put together, reveling unapologetically in its nostalgia, but as always comes with nostalgia there's a note of sadness. At what was lost as websites grew in complexity until the idea of making something yourself with HTML over a couple of weekends was no longer enough.
The core gameplay of Hypnospace Outlaw is, as other people have pointed out, the kind of thing that seems so incredibly obvious now that this game has done it. Yeah, of course being an internet moderator is a perfect backdrop to set a puzzle/mystery game around. People get weird online, and it leverages that to create a memorable cast and a storyline that couldn't have been done anywhere else.
Unfortunately I can't give this game a full 5 stars because of its tendency to fall into puzzle game moon logic, though this is more pronounced in the end. I did use a guide to solve some problems starting at about the halfway mark, and I'm gonna be honest I have no idea how you're supposed to figure out the final puzzle by yourself. Still, it always feels inventive and refreshing - there was never a point where I'd felt like the game had run out of tricks.
I also was not expecting the story I got out of this game. It starts more or less as you'd expect, featuring all the same problems you're familiar with, but then it escalates in a way that I could not have seen coming. The sudden tonal shift in the third act is impressive stuff, given that for most of your time with the game, you're almost accustomed to take it as a joke. And then suddenly there are real consequences, real people wound up dead because of a complete moron's bug-riddled pet project. I'm impressed with the direction the story took; I'm even more impressed it stuck the landing.
I'm in a strange place regarding this game's music. There's a huge amount of it and a similarly huge amount of variety, but I never really found something I like. I'm stunned by the amount of work that must have gone into it, though - that the game is able to pivot effortlessly between chiptune and 90s nu-metal in the space of a few seconds is phenomenal.
Although Hypnospace Outlaw sells itself predominantly on being a recreation of what once was, it's smart enough to not rely on that. Instead it marries its aesthetics and gameplay with a great story that could only have been told in this medium, and with all those components working as one it becomes so much more. Hypnospace Outlaw is really good
The core gameplay of Hypnospace Outlaw is, as other people have pointed out, the kind of thing that seems so incredibly obvious now that this game has done it. Yeah, of course being an internet moderator is a perfect backdrop to set a puzzle/mystery game around. People get weird online, and it leverages that to create a memorable cast and a storyline that couldn't have been done anywhere else.
Unfortunately I can't give this game a full 5 stars because of its tendency to fall into puzzle game moon logic, though this is more pronounced in the end. I did use a guide to solve some problems starting at about the halfway mark, and I'm gonna be honest I have no idea how you're supposed to figure out the final puzzle by yourself. Still, it always feels inventive and refreshing - there was never a point where I'd felt like the game had run out of tricks.
I also was not expecting the story I got out of this game. It starts more or less as you'd expect, featuring all the same problems you're familiar with, but then it escalates in a way that I could not have seen coming. The sudden tonal shift in the third act is impressive stuff, given that for most of your time with the game, you're almost accustomed to take it as a joke. And then suddenly there are real consequences, real people wound up dead because of a complete moron's bug-riddled pet project. I'm impressed with the direction the story took; I'm even more impressed it stuck the landing.
I'm in a strange place regarding this game's music. There's a huge amount of it and a similarly huge amount of variety, but I never really found something I like. I'm stunned by the amount of work that must have gone into it, though - that the game is able to pivot effortlessly between chiptune and 90s nu-metal in the space of a few seconds is phenomenal.
Although Hypnospace Outlaw sells itself predominantly on being a recreation of what once was, it's smart enough to not rely on that. Instead it marries its aesthetics and gameplay with a great story that could only have been told in this medium, and with all those components working as one it becomes so much more. Hypnospace Outlaw is really good
Meu favorito da franquia, essa porra dá muito medo
Esse zelda é uma merda KKKKKKKKKKKKKKKKKKKKKK
This game takes stuff I did as a kid and makes it a video game.
Such an imaginative game.
Such an imaginative game.
The worst game I've ever played.
Everything about this game is absolutely terrible without anything to redeem it.
First of all the obvious issue is how difficult this game is for seemingly being made for children, and that's where most of the issues stem from in the first place.
It's not a complex game but an extremely poorly made one which gives it the worst kind of difficulty you can imagine:
Poor visibility camera, Not knowing where the frogs are and having no clues as to where they could be (which is amplified by the camera giving you close to zero insight as to how the map actually looks), The slippery controls and the extremely awkward momentum that comes with it, The shitty hitboxes, The limited lives making you go back to get the frogs you've already collected over and over and over and over again just because you messed up at a later frog.
It's mostly not mechanically difficult which is understandable as there's not much options you have for movement in the first place, its difficulty lies in finding targets without any helpers and memorizing the output and being patient at the hazards that come out; everything's based on a cycle and pattern but there's an issue with that
The cycles don't reset when you die or collect a frog
This makes it so you won't actually be able to memorize the timings to go through a line of hazards each time as the time in which you die or collect a frog will likely be different each time, making the pattern when you come back different. Not to mention late game patterns being almost impossible to recognize due to the insane number of hazards
These all might sound like minor issues but they all add up to create an unforgiving mess of a game
And the worst part of all of this is that there's nothing to be gained out of this!
There's no part of the game that's fun to play, there's no story (Not that I expected there to be)
It's all just misery with no positives to it.
It's truly impossible for me to explain how bad this game is without you first playing it, but I heavily recommend against you doing that.
Everything about this game is absolutely terrible without anything to redeem it.
First of all the obvious issue is how difficult this game is for seemingly being made for children, and that's where most of the issues stem from in the first place.
It's not a complex game but an extremely poorly made one which gives it the worst kind of difficulty you can imagine:
Poor visibility camera, Not knowing where the frogs are and having no clues as to where they could be (which is amplified by the camera giving you close to zero insight as to how the map actually looks), The slippery controls and the extremely awkward momentum that comes with it, The shitty hitboxes, The limited lives making you go back to get the frogs you've already collected over and over and over and over again just because you messed up at a later frog.
It's mostly not mechanically difficult which is understandable as there's not much options you have for movement in the first place, its difficulty lies in finding targets without any helpers and memorizing the output and being patient at the hazards that come out; everything's based on a cycle and pattern but there's an issue with that
The cycles don't reset when you die or collect a frog
This makes it so you won't actually be able to memorize the timings to go through a line of hazards each time as the time in which you die or collect a frog will likely be different each time, making the pattern when you come back different. Not to mention late game patterns being almost impossible to recognize due to the insane number of hazards
These all might sound like minor issues but they all add up to create an unforgiving mess of a game
And the worst part of all of this is that there's nothing to be gained out of this!
There's no part of the game that's fun to play, there's no story (Not that I expected there to be)
It's all just misery with no positives to it.
It's truly impossible for me to explain how bad this game is without you first playing it, but I heavily recommend against you doing that.
Eu realmente não sei explicar porque estou dando 5 estrelas para esse jogo, afinal, é datado. Mas, por algum motivo, ele me marcou muito mesmo. Devia ser mais reconhecido, porque a OST de save do banquinho curou a minha alma e me deu muitos momentos bons de sono.
Muito dahora
Sometimes a game is so middle of the road it hurts. Ghost of Tsushima was one of those for me. I admit that I'm partially responsible for my own woes with it, given that I was expeting more "Sekiro" and less "Assassin's Creed", but I still feel like GoT is so half-hearted in its execution of almost everything that it just ends up being a really bland experience. Maybe that changes in the third island, I don't know. I don't think I'm likely to finish it anytime soon.
The game's got its good points. The way everything looks is excellent, the way armour and sheaths and things like that are designed is very visually appealing, I like the flavour of a lot of side activities (duels, haikus, etc.), but after this I run out of nice things to say. I know that the story apparently gets good at the third act, but everything I've played up to that point feels unenthusiastic. The opening is bombastic and dramatic but then it becomes your average Ubisoft-esque sneaking mission and after that, as you mill around Tsushima it runs out of steam completely for me.
The combat is fine but there's kind of nothing to it. I never feel particularly challenged, nor do I look forward to engaging in battle due to how repetitive I found it was. The stealth, comparatively, feels like an afterthought. It isn't made by Ubisoft, but it feels like it suffers from many of the same issues as the likes of Assassin's Creed have been for a while. Samey combat, samey story, and a lack of any kind of focus in level or encounter design, resulting in a homogeneous paste of an experience. I wish I could go without comparing it to AC, take it on its own merits, but it really does not beat the allegations.
It's fine, but it's only fine. Inoffensive. Mild. A year ago I would've suggested playing it if you wanted Assassin's Creed set in feudal Japan, but it seems now it's going to be losing that selling point too.
The game's got its good points. The way everything looks is excellent, the way armour and sheaths and things like that are designed is very visually appealing, I like the flavour of a lot of side activities (duels, haikus, etc.), but after this I run out of nice things to say. I know that the story apparently gets good at the third act, but everything I've played up to that point feels unenthusiastic. The opening is bombastic and dramatic but then it becomes your average Ubisoft-esque sneaking mission and after that, as you mill around Tsushima it runs out of steam completely for me.
The combat is fine but there's kind of nothing to it. I never feel particularly challenged, nor do I look forward to engaging in battle due to how repetitive I found it was. The stealth, comparatively, feels like an afterthought. It isn't made by Ubisoft, but it feels like it suffers from many of the same issues as the likes of Assassin's Creed have been for a while. Samey combat, samey story, and a lack of any kind of focus in level or encounter design, resulting in a homogeneous paste of an experience. I wish I could go without comparing it to AC, take it on its own merits, but it really does not beat the allegations.
It's fine, but it's only fine. Inoffensive. Mild. A year ago I would've suggested playing it if you wanted Assassin's Creed set in feudal Japan, but it seems now it's going to be losing that selling point too.
Infância boa
Eu amava esse jogo quando era criança (Ainda amo)
LILA SOY YO!!!!
Most addicting trivia game I’ve ever played and I’ll never forgive them for shutting it down.
A mix of hollow knight and metroid dread though it leans more hollow knight. I think the platforming might be better then both games but I feel like the combat, and exploration might be a bit worse. Still easily one of the best metroidvanias of the 2020s though, and I really hope Ubisoft Montpellier gets to make another platformer again and sooner then the 11 year gap between this and rayman legends
Castlevania Bloodlines (or New Generation, as its called in Europe) brings the Castlevania series to the other popular 16-bit console at the time, the Sega Mega Drive!
Out of all of the Classicvanias so far, Bloodlines is the one that takes place the farthest in the timeline, during the latter half of World War I.
Instead of controlling one of the Belmonts, you have the option to play as either John Morris and Eric Lecarde.
What I find interesting is that, when they were deciding what games should be part of the Castlevania timeline, they actually made Bloodlines canon, connecting it to events seen in Rondo of Blood and Symphony of the Night. The Vampire Killer was passed down to John Morris, and the Alucard Spear was passed down to Eric Lecarde.
You can't switch between both characters on the fly, you're stuck with one or the other for the remaining of the adventure, but I think there is merit to playing as both.
While neither character can aim in all 8 directions, like in Super Castlevania IV, they can aim diagonally while they're on the ground, and aim down while they're in the air.
John Morris utilizes the Vampire Killer whip, and similarly to Simon's whip in Super Castlevania IV, he can swing from certain ceillings with it, which is pretty fun! Although I feel like they could've utilized it more, and it can be a bit finicky to connect the whip with the ceilling.
Eric Lecarde on the other hand, uses a spear which has quite a bit of range. The best part though, is that if you hold down on the D-Pad, he can charge up for a super-jump, which allows him to get to places John Morris couldn't get to.
Out of the two, I ended up preferring Eric Lecarde's playstyle a bit more, but there is plenty of merit in playing as John Morris.
Castlevania Bloodlines sees our heroes travelling throughout many European countries, outside of Transylvania in Romania. Countries such as Greece, Italy and France are locales you'll be traversing in the game, and these offer up a great amount of environmental variety and unique obstacles!
The level design in general, is just really well made, and rarely feels cheap. Although I do find that many of these levels go on for a bit longer than I would've liked, and I still found the game harder than Super Castlevania IV, oddly enough.
There are less sub-weapons here than in previous Castlevania games, but I found all of them to be pretty useful, and by pressing Up and the Item button, you can perform a more powerful version of that sub-weapon, at the cost of more crystals.
For some reason, they're crystals here and not hearts.
There is also an upgrade system similar to the Game Boy games, where the maximum upgrade to your whip/spear increses its damage, and allows to pick up a sub-weapon that acts as a screen-nuke.
The overall presentation of the game is pretty good! It's a late Mega Drive game and it shows. Colors pop, animations are well-made and pretty gory (except in the PAL version) and the soundtrack is pretty well composed. Not every song was my cup of tea, but there were a few I really enjoyed.
Overall, Castlevania Bloodlines is a pretty solid Classicvania game! Its levels may be a bit too long, but they're well designed and I really enjoyed the variety the game has to offer.
Out of all of the Classicvanias so far, Bloodlines is the one that takes place the farthest in the timeline, during the latter half of World War I.
Instead of controlling one of the Belmonts, you have the option to play as either John Morris and Eric Lecarde.
What I find interesting is that, when they were deciding what games should be part of the Castlevania timeline, they actually made Bloodlines canon, connecting it to events seen in Rondo of Blood and Symphony of the Night. The Vampire Killer was passed down to John Morris, and the Alucard Spear was passed down to Eric Lecarde.
You can't switch between both characters on the fly, you're stuck with one or the other for the remaining of the adventure, but I think there is merit to playing as both.
While neither character can aim in all 8 directions, like in Super Castlevania IV, they can aim diagonally while they're on the ground, and aim down while they're in the air.
John Morris utilizes the Vampire Killer whip, and similarly to Simon's whip in Super Castlevania IV, he can swing from certain ceillings with it, which is pretty fun! Although I feel like they could've utilized it more, and it can be a bit finicky to connect the whip with the ceilling.
Eric Lecarde on the other hand, uses a spear which has quite a bit of range. The best part though, is that if you hold down on the D-Pad, he can charge up for a super-jump, which allows him to get to places John Morris couldn't get to.
Out of the two, I ended up preferring Eric Lecarde's playstyle a bit more, but there is plenty of merit in playing as John Morris.
Castlevania Bloodlines sees our heroes travelling throughout many European countries, outside of Transylvania in Romania. Countries such as Greece, Italy and France are locales you'll be traversing in the game, and these offer up a great amount of environmental variety and unique obstacles!
The level design in general, is just really well made, and rarely feels cheap. Although I do find that many of these levels go on for a bit longer than I would've liked, and I still found the game harder than Super Castlevania IV, oddly enough.
There are less sub-weapons here than in previous Castlevania games, but I found all of them to be pretty useful, and by pressing Up and the Item button, you can perform a more powerful version of that sub-weapon, at the cost of more crystals.
For some reason, they're crystals here and not hearts.
There is also an upgrade system similar to the Game Boy games, where the maximum upgrade to your whip/spear increses its damage, and allows to pick up a sub-weapon that acts as a screen-nuke.
The overall presentation of the game is pretty good! It's a late Mega Drive game and it shows. Colors pop, animations are well-made and pretty gory (except in the PAL version) and the soundtrack is pretty well composed. Not every song was my cup of tea, but there were a few I really enjoyed.
Overall, Castlevania Bloodlines is a pretty solid Classicvania game! Its levels may be a bit too long, but they're well designed and I really enjoyed the variety the game has to offer.