Unironically one of the greatest Final Fantasy games.

Demanding, brutal combat against classic bosses and enemies from all of FF, a satisfying take on the job system, and a protagonist who starts off as a grump with no time for "Final Fantasy bullshit" before becoming possibly the most based character in the franchise. A must-play.

Wanted: Dead is as befuddling as it is bloody. Players will find the plot of Soliel's slasher/shooter hybrid varying levels of coherent depending on their interpretation. What's undeniable is the fun to be had in its streamlined slaughter. Come for the demanding and gory action gameplay, and stay for the odd voice performances, anime flashbacks, and karaoke with Stefanie Joosten. It's sometimes frustrating, often satisfying, and almost always janky and weird; I can't stop thinking about it.

Full review: https://finalweapon.net/2023/02/19/wanted-dead-review/

Dead Space rigorously reanimates gaming's best sci-fi horror game. It's clear EA Motive looked at the original title both through the lens of adoring fans as well as talented developers. They keep what worked, morph what didn't, and unlike the game's protagonist, cut off almost nothing. The USG Ishimura has never been more immersive. Only minor missteps keep it from perfection, but not from being an absolutely stunning makeover, and a must-play experience.

Full review: https://finalweapon.net/2023/02/01/dead-space-remake-review/

They destroyed both Tidus and Seymour's faces in this, but besides our protagonist and antagonist not being as handsome as they were on the PS2, these games remain extraordinary.

No doubt about it, Splatter is worth a play. Original and fresh, it's a wild ride with engaging combat throughout. Especially as a debut game from a team of seven, this slime-soaked shooter impresses. Xenial it's not, despite its collage of familiar sights and sounds from internet culture. It blasts players with pulse-pounding music and psychedelic visuals until they've had their fill. The only way out is through.

Full review: https://finalweapon.net/2022/12/17/splatter-review-style-substance-and-sartre/

The PS2 series has returned with modernized controls, but old problems. Simple but satisfying gunplay wrapped in a stylish package is marred by a padded runtime, uneven presentation, and poorly done localization. Gungrave G.O.R.E's promising start transforms into a slog to its finish through bullet sponges, bad encounter design, and worse platforming.

Full review: https://finalweapon.net/2022/12/06/gungrave-g-o-r-e-review-bullet-hell/

Ragnarok is excellent, with top-of-the-line visuals, sound, and combat. Cumbersome menus, a superfluous equipment system, and a couple of less thrilling chapters do little to dull the shine of an otherwise spectacular action-adventure experience. Playing much like its predecessor, the shape this new title takes doesn’t subvert expectations, but exceeds them. When originally shown, some gamers remarked that Ragnarok looked like DLC. In hindsight, the beloved God of War (2018) now feels like a demo for this jampacked feast of a game.

Full review: https://finalweapon.net/2022/11/23/god-of-war-ragnarok-review/


Don't like this game very much at all. As excited as I was to see the artstyle, in the bit I played everything looked so similar that nothing really struck me. Didn't get far enough to feel like I could fairly review it, but I don't feel like spending any more time with it either :(

Not usually a fan of Battle Royale games (or multiplayer in general, really), but this has me hooked.

Normal battle royale staples like gunplay and navigating the map are already good here but are then elevated by the incredible mobility of the vampire races (scaling buildings, sliding, huge leaps, wall jumping) and their unique abilities for combat and movement.

Vampire the Masquerade doesn't just serve as the game's skeleton, its lore is incorporated stem to stern and there's a menu full of information that gets filled as you play the game and fulfill combat challenges and fetch quests during multiplayer for NPCs in a central hub. You can also give yourself heals and buffs by drinking the blood of humans mid-match and performing a finisher on other players isn't just for style: "diableries" from VtM are how you end the lives of other vampires, powering you up with another slot for blood buffs. Outside of ranked play you can also store up to two "lives", and when you're down to your last chance, you can carefully skulk the streets to regain a life by finding the right human to drink.

The game looks ridiculously good for a 40 player multiplayer game with a huge map, and runs great on PS5 (60FPS/1440p or 30FPS/4K) and is optimized well for PC. Right now at launch there's certainly an advantage to PC players who can use mouse and keyboard at 144FPS against 60FPS controller users (with minimal aim assist), but 120FPS is something they want to add to PS5, and they're looking at aim correction balance as well. I've still managed to win many times on PS5 though 🤷

Overall I'm incredibly impressed with this game; it's one that I'd completely written off because of Battle Royale stigma and the dire state of Bloodlines 2 development, but I'm really glad I gave this a chance


A pleasing art style that shines as you progress to different levels and the locales drastically change, great animation work, well-designed combat, and an awesome difficulty curve that weaves in ways that you can make the game easier, but never allows any of them to become sturdy enough of a crutch that you can see the game through (and through again for secret content) without actually increasing your skill as a player.

Learning Sifu's combat feels like learning an actual skillset. I began the game wondering if I'd ever beat the second level, and by the time I ended it, I was spending precious special attack meter on a move that gently smacks enemies on the back of the head as a taunt. It's a wonderful feeling.

Disco Elysium is beautiful, fun, thoughtful, brimming with content, and without ever being preachy, self-righteous, pedantic, or pretentious, made me feel empathy for every living thing in its world, from the reeds blowing in the wind by water, to a pathetic, drunk, amnesiac detective, who may or may not be turning his life around based on your decisions throughout the game.

"In honour of your will. That you kept from falling apart, in the face of sheer terror. Day after day. Second by second."

I played this when I was six, so I'd have to go back and play it to review it fairly, but I can tell you with confidence that this game haunts me.

The mix of live-action and bad CG was like nothing I'd ever seen, and the dark tone and music combined with the feeling of isolation, and tentacle pods that would absolutely destroy you (with the heroine screaming in pain) burned this game into my brain. Kind of scared to revisit it, tbh

I rented this game when I was maybe 7 years old, and despite the kind of blah visuals (for its time and now), and its quest based structure not providing much grand motivation compared to the sweeping stories of RPGs like FF that I was used to, it's stuck with me.

Played it recently, and it's still very interesting and very charming despite being janky, slow, and not telling you a whole lot. Maybe it's Mitsuda's soundtrack, maybe it's the Legend of Dragoon-ish combat, maybe it's that the game is about helping people: I'm not sure, but there's something here.

The versions of this game are very different from one another, Genesis is the best by far and worth trying; I'd avoid the rest 😅