The recent peak of the contrarian minimalist video game. it's weird that I never knew the differences between V engines until I played this game and didn't even have to touch any parts of the car
Perhaps that is the greatest virtue of Art of Rally, it makes you understand and become aware of the nuances of driving, the history of the rally summarized through this plastic model in the shape of a video game. It's arcade and it's simulation too, but nothing about to choose parts of the car and no driving action type mindless you just need precise math with your fingers and refined touch, just that.

It's not about hunger, the television media, or deformed and abusive adult authority figures, but the consequences of suffering from a dehumanized environment during childhood, which is nothing less than becoming selfish and sinful.
Mono crosses a dehumanized and deformed city forming a bond with Six and being pursued by a lean, suit-clad figure (probably a reference to Michael Jackson) facing situations that suggest nurturing without empathy and self-centered survival as a way of life. At the end of the game the acts of kindness are in vain and Mono (protagonist) and Michael Jackson-TvMan-slim man (antagonist) turn out to be the same entity trapped in a space-time cycle created by the emptiness of Mono and the accumulation of hatred during his childhood, we become our own monsters , even more, it turns out that the intentions of the opposing figure are not bad at all, his only defect is to demand attention. Somewhere is a really good videogame but its lack of pacing during various sections of the game and the inability to detach itself from environmental puzzles makes its almost master set-pieces and its enormous visual imaginary buried. btw, points for not fetishizing Playdead's style children's deaths (fuck Playdead)
and this game is in fact a prequel, not a sequel

Also i have a crush on Buffy the vampire slayer (1997)

Da rial Tekken force. A sincere great video game that is due to its combat.
"done in the tradition of Double Dragon and Final Fight"
It sounds like an excuse with the abuse of juggling and advantages that enemies carry over you.
Another serious problem in this game is the Tekken assets based on real movements were not cohesive with the totally unreal SPAs since they move at different rates, being able to unnaturally interrupt any attack sequence and also being the only reliable anti-stun tool.Self-explanatory mechanics of regional damage does not end up being so decisive unless you opt for a varied game, a character based on his fighting style in submission or wrestling or, the fucking mission forces you to dislodge a part of the enemy as if it ends up being spatial control and knowledge of the fighter (there are like 30 fighters) and their fighting style,
these oversights downgrades what could have been an Isaac florentine fight scene simulator to an outstanding choreographic brawler, how tragic wacho.
Also i have a crush on Shun Ying Lee, and Lilian is the best fighter.

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.

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.

Who would say that an aesthetically soft Tumblr game would use its structure to tell a boy's escapades to get to know his mother better for 30 minutes every day
I didn't see it coming (pam pam)
The word that defines this game is synergy, not exceptional, because in most good Rogue-Like synergy is the law, but not so many bring that rule to absolutely all video game departments, not like HADES does at least. The worst, this is very "alternative gamer" but anything here is truly alternative, that takes away some points

This game shouldn't be as good as it is.
A
a direct and cheap mix of MAX PAYNE or Stranglehold but without objective missions, no restrictions on slow bullet time and a Chinese sword to hit melee on the ground or in the air, wait, there is more Mike, you can run up the walls while shooting , slide across the ground while shooting, jump while shooting, bounce off walls while shooting, bounce off enemies while shooting in the air, drink a mojito while shooting in the air well not really but you get the point, what is not a good point is the platform a-la Tomb Raider Underworld, that is shit.
It could be argued that the Grindhouse aesthetic is a disguise to supplement its cheap production and that the Sino-American exploitation is ornament, and it is, but the cospley fits so well that the loading times masked in suburban movie ads are delicious to me, It reminds me of those games like Project Minerva, GERMS, The Simple series and all those.Everything cheap about this game is delicious to me because it achieves what many other megacorp shooters (I stole the name from the Ratchet and Clank saga) cannot achieve, a very fine ballet choreography of shots and sabers in arenas with many possibilities, without pressure but with all the pleasure
In late of the 2000s the HD development was barely HD due to the increase in costs, most of the small studios went bankrupt or were absorbed and restructured, although so many companies financed small or medium projects.
Some faced HD, others were megacorps, others were in Japan (those practically died).

I have also a crush on
Eliza Dushku, since i was a boy