i´m a little boring here to see the same ways to use the PsOne aesthetic. one can argue that is perfect to deliver a great mysterious atmosphere, but sometimes seems like THE ONLY way the authors use it despite the fact that the era from which this aesthetic was born is one of the most varied and experimental.

It makes me sad that the game did not catch me, and I think it is due to the exploratory dialogue system, maybe it is my fault but when they let me play a character with a more or less perceptible background and the game gives me freedom to interpret it, I do not usually enter the game, because it's not me, obviously, but I never know exactly what I want to be with a character that I have to explore through dialogue. or maybe i miss the point entirely, idk

I want to go shopping with Greta Gerwig

superb production that does not reach what it promises.
admirable and ambitious aesthetic work drowing in limitations and probably some direction too much set in how 3d worked among its contemporaries.
Coolest ninja action live in the contrast of a quiet place disturbed by a swift and terrible murder, the game manages that well through the camera target vision working as an abstraction of the look-out ninja- like aptitude and running with the spaces and AI, very naturalistic. What does not handle well in translate the movement flowing over action because tank controls, what the fridge? tank controls lol , like, all the movements, shinobi-jutsu run through clunky input sequences? yes. Dramatic loss.
the drama is neat tho.

A testimony of learning just in the wrong way. Despite Ninja Theory was a relative newbie its development in the center of the hurricane that is the pop-game market
it could not end in any other way than in the disaster of becoming a custom company even with them wanting to express personal drama in their game stories.
The reexamination of Chinese culture by young people in Heavenly Sword and Enslaved is acceptable, even if it is encapsulated in inter-decade AAA trends, what is not acceptable is to gamify the dramatic moods such as slavery or psychosis, which begin with this game.

What kind of requirements does Devolver have to publish a game with a concept 2000? This game seems out of the newgrounds wave, only upgraded by a patronage that doesn't seem to fit the philosophy of the game itself (which probably the guys who developed this did in their jammies)
What is more interesting than the design itself or the philosophy is humility and passion for sharing and creating, launching a jam sharing resources from the game itself and creating a tutorial to encourage others to create avoid-em-Up action boxes.
(all here https://itch.io/jam/disc-room-game-jam)
I don't know more about this story, but more stories like this, please thank you bye.
Also the game is pretty neat tho.

In the Tokusatsus about kaijus and hiros of the 60s, the magic and lies of movie sets become more evident, natural environments are dioramas and ships and monsters are models and that is how video games are in reality, models and digital dioramas, more large and detailed, more credible at times, but more manufactured, more controlled, and they lie better. Ultraman makes me think that controlling spaces must really be a pain in the ass, rather than letting the player free in a free environment with random AI instead of putting the player with constant limits so that the lie or illusion or disbelief does not disappear. The limits here are Ultraman's own license and consequently a limited arena, creatively limited powers to be replicas of the show, limited time to beat the monsters, transitions taken directly from the show's frames and I'm going to stop counting now because I'm getting depressed . however Ultraman is an effective and aesthetic fighting game that thanks to its limitations offers desperate struggles against rigid and sticky enemies with a friction that I will take to forget. I am also a weaboo of some Tokus.